11th July - Classics of the 19th & 20th century

Lot 1 - 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. 5 000 - 6 000 EUR

Lot 2 - FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The jewelers of St. Mark's Square in Venice, at dusk", 1877. Oil on cardboard. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 17 x 27 cm; 36 x 46 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, 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 and Carlos de Haes. 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 of local customs full of grace and color. 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. Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and São Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

Estim. 10 000 - 12 000 EUR

Lot 3 - CARLES NADAL FARRERAS (Paris, 1917 - Sitges, Barcelona, 1998). "Interior scene". 1975. Mixed media on paper. Signed and dated. Measurements: 31 x 44 cm; 52 x 67 cm (frame). Son of Santiago Nadal, painter-decorator based in Paris, Carles Nadal lives from childhood in Barcelona, where the family moves due to an illness of the father. At the age of thirteen he began to work as an apprentice in a decorative painting workshop, and in 1936 he received a scholarship from the City Council of Barcelona to study at the School of Fine Arts of Sant Jordi. At the outbreak of the Civil War he was recruited into the Republican army, with which he fought on the fronts of Aragon and Tremp. At the beginning of 1939 he crosses the French border and is interned in the refugee camp of Saint Cyprien, where he remains for several months. He manages to escape and cross the border again, but is arrested and imprisoned in Figueras. Under parole he returns to Barcelona, where he continues his artistic career while simultaneously working as a decorator and studying Fine Arts. In 1941 he makes his debut in a collective exhibition at the Dalmau Gallery, obtaining good reviews. He finishes his studies with good grades, obtaining the recognition of teachers and professors, some of whom will become friends and collaborators of the young Nadal. In fact, it was one of them, Luis Muntané, who facilitated his first individual exhibition in 1944, at La Pinacoteca in Barcelona. Two years later he moved to Paris, again with a grant from the Barcelona City Council. There he works and exhibits with the group Présence de l'Homme, as well as participating in the Salons d'Automne. Later, thanks to a scholarship from the French State, he attends the Paris School of Fine Arts. In 1948 he married Flore Joris, establishing his residence in Brussels, where he remained until the mid-seventies. In Belgium he discovered, as he himself repeatedly stated, light and color. During these years he will continue to show his work in Spain and Belgium as well as in France, Germany, Holland, Switzerland, the United Kingdom and the United States. Nadal's painting is post-impressionist, intensely colorful, and is based on the search for chromatic force as the most direct means of communication. His awards include the Grand Prix de Spa, Belgium, and his appointment as a member of the Royal Academy of London. His works can be found in the MACBA, the Spa Museum in Belgium and the Royal Museum of Brussels.

Estim. 2 000 - 3 000 EUR

Lot 4 - CHARLES-CLEMENT CALDERON (France, 1870 - 1906). "Venice Canal". Oil on canvas. Signed in the lower right corner. Relined. The frame shows deterioration. Measurements: 55 x 82 cm, 87 x 113 cm (frame). Charles-Clément Calderón was a painter specialized in scenes of Venice and its canals. This trend was very common in European painters of the XIX century, who traveled to Venice to continue studying and to improve their formation and were in love with the city. Charles-Clement Calderon was enthusiastic about this perspective of Venice, which he repeated in other works, timidly modifying the light, the position of the gondola and the characters. This type of paintings, almost like photographs taken seconds apart, are the most representative and valued of his professional career. The French academic painter Charles Clement Calderon (1870-1906) was an assistant and pupil of the renowned painter Alexander Cabanel. Calderon became a regular participant in the exhibitions of the Paris Salon des Arts where he exhibited most of his works. His paintings of Venice at L'Exposition Colonial were highly praised, shortly before his early death in 1906. The artist, who traveled frequently, visited countries and cities in southern Europe, especially Venice. It is known that on these trips he worked on a large number of patterns, but few of them have survived to the present day.

Estim. 8 000 - 8 500 EUR

Lot 5 - ANTONIO CABA CASAMITJANA (Barcelona, 1837 - 1907). "Soldier", 1859. Oil on canvas. Signed and dated in the lower right corner. Measurements: 202 x 120 cm; 218 x 137 cm (frame). Painter and decorator born in Barcelona, Antonio Caba began his studies at the School of Fine Arts in Barcelona, where he had as teachers Gabriel Planella, Pablo Milà Fontanals and Claudio Lorenzale. He then furthered his studies in Madrid thanks to a pension granted to him by the Diputación de Barcelona in 1863. There he was a student of Federico de Madrazo. Later he traveled to Rome and Paris, broadening his training as a disciple of the fresco artist Carlos Ruiz Delaroche. Throughout his career Caba submitted his works to numerous official exhibitions, being awarded a second medal at the National Exhibition of Fine Arts in 1864 and a gold medal at the Universal Exhibition in Barcelona in 1888. For many years he taught, first at the Llotja School in Barcelona and later at the Academies of San Fernando in Madrid and Sant Jordi in Barcelona, teaching, among others, the impressionist painter Eliseu Meifrèn. In San Fernando he was assistant professor, and in Sant Jordi he became professor and director of the Academy. His work is currently preserved in the Prado Museum, the National Art Museum of Catalonia, the Museum of L'Empordà, the City Council of Perelada (Gerona) and the Abbey of Montserrat, as well as in various private collections.

Estim. 3 000 - 3 500 EUR

Lot 6 - JOSÉ ARPA PEREA (Carmona, 1858 - Seville, 1952). "Flowers". Oil on canvas. Signed and located in the lower right area. Measurements: 61 x 74 cm; 74 x 84 cm (frame). This work, located in Seville, probably belongs to the artist's last period, as aesthetically the treatment of the material on the canvas, the load of oil and the textured finish of the image are very reminiscent of the qualities of his landscapes in the United States. Compositionally the work is really interesting, as the artist recreates a landscape, but lowers the point of view and narrows the space in such a way as to present a classic still life of flowers, which is the main motif, but contextualised in its own surroundings. José Arpa Perea was a Spanish landscape painter who produced much of his work in North America. He moved from Carmona to Seville at the age of ten, where he combined his work as a broad-brush painter with evening classes at the Santa Isabel de Hungría School of Fine Arts in Seville from 1876, where he met Eduardo Cano. Between 1883 and 1886 he lived in Rome, in great need owing to the meagre grant he was awarded by the Seville provincial council, where he painted historical canvases. On his return to Seville he set up his own studio and began to be recognised, winning commissions such as the decoration of the Círculo Mercantil and the city's Casino Militar. He further developed his orientalist facet on a trip to Morocco in 1895. He lived in Mexico between 1896 and 1910, later moving to San Antonio (Texas, United States) because of the Mexican Revolution, setting up a painting academy there and receiving commissions, enjoying an economic situation that enabled him to make frequent trips to Spain, with long stays in Seville and visits to the Cantabrian coast. He spent more than 30 years in this American city. Throughout his life he was in frequent contact with the landscape painters of the well-known Alcalá de Guadaira School, and his work could be seen in numerous cities in all the countries in which he lived (Seville...), and is held in important private collections all over the world and in prominent institutions such as the Seville Museum of Fine Arts, the Cajasol Museum, the Museum of Huelva, the San Antonio Museum of Art (United States), the Museo Universitario Casa de los Muñecos (Puebla, Mexico), etc.

Estim. 12 000 - 14 000 EUR

Lot 7 - GEORGE OWEN WYNNE APPERLEY (Ventnor, Isle of Wight, England, 1884 - Tangier, Morocco, 1960). "Bacchante," 1942. Oil on canvas. Presents damage to the frame. Signed in the lower right corner. Measurements: 63,5 x 53,5 cm; 90 x 78 cm (frame). The painting of George Owen, always had as protagonist the woman, in many occasions it was Andalusian women, although he also dealt extensively with the genre of the nude. In this case the author presents us with an idyllic image, and at the same time sensual, starring a half-naked young woman immersed in nature. The woman, with a haughty gesture and a half-smile, covers her body with a leopard skin. Next to her are some vine leaves, indicating that this is the representation of a woman of the court of the god Bacchus, since both attributes allude to the iconography of the god of wine. The use of a Bacchante as the protagonist reveals a carefree young woman, devoted to pleasure and in turn follows the portrait tradition that began in the eighteenth century, in which the ladies of the court were portrayed with attributes of saints or goddesses of the classical pantheon, although in this case the artist goes further, in search of what under his own eyes symbolizes the woman in his time. George Owen Wynne Apperley belonged to an aristocratic Welsh family, which allowed him a comfortable economic situation. From an early age he was attracted to painting and, opposing his family, he enrolled at the Herkomer Academy. His training was broadened by his trip to Italy, where he was captivated by the Mediterranean light and produced works on genre and landscape themes. After marrying secretly in 1907, he moved with his wife to Lugano (Switzerland), then returned to London. In 1914 he traveled to Spain, and settled permanently in Madrid two years later, to go a year later to Granada, where he settled, where he met local painters such as Francisco Soria Aedo and Lopez Mezquita. When the Second Republic was proclaimed, he moved to Tangier (Morocco), where he became interested in new orientalist themes, and where he died. His work could be contemplated in the different countries where he lived, being especially important an exhibition in 1918 inaugurated by King Alfonso XIII and Victoria Eugenia de Battemberg, moment from which his prestige increased. His work is preserved in important private collections and institutions such as the Victoria & Albert Museum in London, the Museum of Malaga, the Palace Art Museum in Brussels, the Municipal Museum of Fine Arts of Tandil in Buenos Aires (Argentina), the Sydney Museum (Australia), etc. It presents damages in the frame.

Estim. 3 000 - 4 000 EUR

Lot 8 - JOAQUIN AGRASOT (Orihuela, Alicante, 1837 - Valencia, 1919). "Odalisque". Watercolor on paper. It has slight rust stains on the paper. Signed in the lower right corner. Measurements: 49 x 26,5 cm; 77 x 56 cm (frame). Starting from the beautiful and unattainable odalisques of Ingres, of so pale skin and so elegant gestures that always lead to think of a captive Christian princess, never an Arab woman, the diverse pictorial schools will be developing a whole new iconography that looks for to recreate in a fantastic way - since of East nothing is known - a world prohibited to the westerners and full of attractiveness. 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 de 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. Slight rust stains on the paper.

Estim. 1 500 - 2 000 EUR

Lot 9 - SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937). "Rural View with a Character", 14-3-1931. Oil on cardboard. Unsigned. Dated. It presents some lack in the painting and in the cardboard. Measurements: 14.5 x 17 cm; 33 x 36 cm (frame). Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the School of Fine Arts in Barcelona, under the direction of Antonio Caba. He took part in numerous exhibitions, including the Barcelona International Exhibition in 1891, 1894, 1896 and 1898 (honourable mention in 1891), the Barcelona Art Exhibitions of 1918 and 1919, and the Paris Salon of 1897. That same year he received an honourable mention at the National Exhibition of Fine Arts in Madrid. His solo exhibitions include 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. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués were a great success with the public and critics. 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 Saragossa and the National Art Museum of Catalonia, as well as in important international private collections.

Estim. 700 - 800 EUR

Lot 10 - JOAQUÍN TERRUELLA MATILLA (Barcelona, 1891 - 1957). "Passeig de Ronda", 1946. Oil on panel. Signed in the lower right corner. Size: 25 x 34,5 cm; 35 x 44,5 cm (frame). Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Santiago Rusiñol. He made a trip to Italy with the latter in 1923, as well as spending some time working together in Aranjuez. He also painted in Paris and Palma de Mallorca. He had his first solo exhibition at the now defunct Sala Goya in Barcelona in 1916. From then on he exhibited in Barcelona, especially in the Sala Parés (from 1924), and also showed his Impressionist landscapes in galleries in Paris (he exhibited there for the first time in 1922), Madrid, Palma, Saragossa, Bordeaux and Biarritz. From 1928 onwards he showed his work at the Sala Gaspar in Barcelona, where he would continue to exhibit until 1952. In 1956 he held his last exhibition at the Sala Busquets, also in his native city. Since then his work has been present in various group and anthological exhibitions, such as the one held at the Sala Gothsland in Barcelona in 1985. In 1993, Ángeles Cortina brought together a series of his oil paintings and drawings in her Barcelona gallery. Joaquín Terruella was a fundamentally landscape painter, in the wake of Impressionism, who reflected the Catalan landscape with delicacy and subtle transparency. Another of his favourite themes was the world of bullfighting, and in fact he worked as a bullfighting illustrator for the publications "El Día Gráfico" and "La Noche". He also painted scenes of gypsies and concert cafés. His work is kept in the Museum of Contemporary Art in Barcelona, the Museum of Contemporary Art in Madrid and the Provincial Museum of Lugo.

Estim. 2 000 - 2 500 EUR

Lot 11 - JOAQUÍM TERRUELLA MATILLA (Barcelona, 1891 - 1957). "Coastal landscape". Oil on cardboard. Signed in the lower left corner. Size: 24 x 27,5 cm; 41 x 45 cm (frame). Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Santiago Rusiñol. He made a trip to Italy with the latter in 1923, as well as spending some time working together in Aranjuez. He also painted in Paris and Palma de Mallorca. He had his first solo exhibition in the now defunct Goya gallery in Barcelona in 1916, and from then on he exhibited his work in other Barcelona galleries, such as the Parés and Gaspar, and also in Paris, Madrid, Palma, Saragossa, Bordeaux and Biarritz. In 1956 he held his last exhibition at the Sala Busquets in Barcelona. Since then his work has been present in various group and anthological exhibitions, such as the one held at the Sala Gothsland in Barcelona in 1985. In 1993, Ángeles Cortina brought together a series of his oil paintings and drawings in her Barcelona gallery. Joaquín Terruella was a fundamentally landscape painter, in the wake of Impressionism, who reflected the Catalan landscape with delicacy and subtle transparency. Another of his favourite subjects was the world of bullfighting, and in fact he worked as a bullfighting illustrator for the publications "El Día Gráfico" and "La Noche". He also painted scenes of gypsies and concert cafés. His work is kept in the Museum of Contemporary Art in Barcelona, the Museum of Contemporary Art in Madrid and the Provincial Museum of Lugo.

Estim. 700 - 800 EUR

Lot 12 - FRANCISCO LOZANO SANCHIS (Valencia, 1912 - 2000). "Landscape", 1934. Oil on canvas. Signed in the lower right corner. Dated on the back. Measurements: 74 x 92 cm; 93 x 112 cm (frame). Painter, teacher and member of the Royal Academies of Fine Arts of San Fernando and San Carlos, Francisco Lozano was interested in painting from his youth, and at the age of sixteen he began his training at the Academy of San Carlos in Valencia. He later continued his studies at the Alhambra Painters' Residence, and after the Civil War he began to make a name for himself. His career would take off in the 1940s, when he began to exhibit regularly in Madrid and other cities. In the capital he was welcomed by Eugenio d'Ors, whose hand in hand he exhibited at the Estilo gallery, and who put him in contact with the artistic and intellectual circles of Madrid at the time. A primarily Mediterranean painter, his work focused from the outset on landscape, although he evolved from the initial influence of Sorolla towards a more personal language, although equally sensitive to light and colour. His is a synthetic, ordered and austere landscape, completely modern. Between 1951 and 1952 he travelled to Paris on a grant from the French government, and on his return his recognition was completed with the first prize at the National Exhibition of Fine Arts. That same year he was also a great success at the Venice Biennale. From then on he combined his artistic practice with teaching at the San Carlos Academy, where he held a teaching post from 1955 to 1977. At the same time, he held important exhibitions in Spain, South America, the United States, Germany and the United Kingdom, among other countries, mainly in Mediterranean Europe. Lozano was an honorary member of the Círculo de Bellas Artes (1952), a member of the Valencian Council of Culture (1986) and doctor honoris causa of the Polytechnic University of Valencia (1994), and in 1993 a major retrospective exhibition was devoted to him at the IVAM. His work is currently held in museums such as the Reina Sofía in Madrid, the Fundación Mendoza in Caracas, the Camón Aznar in Zaragoza, the IVAM in Valencia and the Fine Arts Museum in Montevideo, among others.

Estim. 2 000 - 2 500 EUR

Lot 13 - Spanish school, first half of the 19th century. Untitled. Oil on canvas. Frame with lack of polychromy and signs of old xylophages. It can make pair with the lot 35246883 Measurements: 40 x 31 cm; 50 x 42 cm (frame). Image of mythological inspiration showing a young woman who seems to be a nymph holding a light garment which is attached to her waist, underlining her forms, in a similar way to how Greek statuary worked the bodies with the technique of "wet cloths". Stylistically, the piece is part of the neoclassicism that pervaded the aesthetics of the second third of the 19th century. Aesthetically, it should be noted that academicism is a direct legacy of classicism, hence the predilection for themes such as the one presented here, taken from mythology, although captured from a sensual and decorative point of view far removed from the solemnity of ancient classical art. This also explains his approach to the subject, recreating the mythological figures in a completely new way. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.

Estim. 1 000 - 1 200 EUR

Lot 14 - Spanish school, first half of the 19th century. Untitled. Oil on canvas. Frame with lack of polychromy and signs of old xylophages. It can make pair with the lot 35246882 Measurements: 40 x 31 cm; 50 x 42 cm (frame). Mythological scene in which a satyr secretly contemplates a nymph who seems to have noticed her spectator. The modest gesture of the young woman trying to get out of the water is in harmony with the attitude of the faun who raises his hands as if trying to pounce on the young woman. Aesthetically, it should be noted that academicism is a direct legacy of classicism, hence the predilection for themes such as the one presented here, taken from mythology, although captured from a sensual and decorative point of view far removed from the solemnity of ancient classical art. This also explains his approach to the subject, recreating the mythological figures in a completely new way. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality.

Estim. 1 000 - 1 200 EUR

Lot 15 - GABINO REY SANTIAGO (Marín, Pontevedra, 1928 - Barcelona, 2006). "Flowers and books". Oil on canvas. Signed in the lower left corner. With label on the back of the Sala Parés. Measurements: 55 x 46 cm; 73 x 64 cm (frame). Being still a child, at the end of the Civil War, Gabino Rey moved to Barcelona with his family. A disciple of Ramón Rogent, he began to exhibit very young, in the Youth Salon of 1943. He continued to participate in this Salon, where he won a prize in 1946. In the forties he obtained a scholarship from the French Government, and exhibited in the Barcelona galleries Dalmau (1946) and Syra (1947). Since 1957 he has been exhibiting at the Sala Parés in Barcelona, as well as at the Madrid gallery El Cisne. He was awarded in the III Universal Exhibition of the Union of Art, in Bilbao (1947), and in 1980 with the Poussiel Prize of the Societé Nationale des Beaux Arts, of Paris. Together with the Sala Parés group, he showed his work not only in Barcelona, but also in Madrid, Alicante, Pontevedra and Lugo, as well as in New York, Los Angeles and Paris. He is represented in the Museums of Lugo, Pontevedra, Marín and Sitges, and in important institutional and private collections in Europe and America. His style, with post-impressionist roots, is loosely made. Gabino is a painter who likes the matter, the impastoed brushstroke, which he applies following a warm and balanced palette. He has worked landscapes and still lifes, but he stands out especially as a portraitist, with intimate and lyrical works, in which he mixes what he has learned from the Catalan and Galician schools.

Estim. 700 - 750 EUR

Lot 16 - JOSEP PUIGDENGOLAS BARELLA (Barcelona, 1906 - 1987). "Costa". Oil on canvas. Signed in the lower right corner. With label of the Sala Parés on the back. Measurements: 53 x 62 cm; 69 x 76 cm (frame). Josep Puigdengolas was formed in the schools of Arts and Trades and La Lonja, in Barcelona, to later complete his studies in El Paular and in the Royal Academy of Florence. He was a disciple of Eliseo Meifrén and Joaquín Mir. In 1951 he was appointed professor of drawing at the School of Fine Arts of Sant Jordi. Although he had his studio in Barcelona, he frequently painted in La Cerdanya and Mallorca, specifically in the town of Deià. His work, of a luminous naturalism, derives from the wake of Mir, and earned him a great acceptance by the public. He focused his work on landscape, but he also worked on portraits. Throughout his career he held several solo exhibitions, such as the one organized at the Salón Cano in Madrid in 1962, and participated in group exhibitions and competitions such as the National Exhibition of Fine Arts. A few months before his death, in January 1987, he held his last exhibition at the Sala Parés in Barcelona. He is currently represented at the Museo Nacional Centro de Arte Reina Sofía and the MACBA in Barcelona, among others.

Estim. 1 000 - 1 100 EUR

Lot 17 - Attributed to FRANCISCO LAMEYER Y BERENGUER (Puerto de Santa María, Cádiz, 1825-Madrid, 1877). "Maja with fan. Oil on canvas. Size: 32 x 24 cm; 44,5 x 37 cm (frame). In this work the painter offers us an image of great plastic expressiveness, with a simple composition in which we see a bust-length woman, in the foreground, in front of a neutral background which enhances her presence. The result is striking for its truthful and convincing depiction of the woman's personality: a calm character with a sad look in her eyes. Aesthetically the work is largely reminiscent of the paintings of Lameyer y Berenguer, who was born in El Puerto de Santa María but whose family moved to Madrid when he was still a child. As soon as he was old enough he began to work with Vicente Castelló's engraver. He subsequently contributed to El Siglo Pintoresco, a magazine founded by Castelló. In 1841 he entered the San Fernando Royal Academy of Fine Arts, where he studied with José de Madrazo, met his son Luis and, through him, became friends with the entire Madrazo family. Two years later, driven by the need to support his family, he joined the Spanish navy as an administrative officer. Although this prevented him from pursuing his artistic career, he continued to work in his spare time; completing 125 drawings for Serafín Estébanez Calderón's Escenas Andaluzas (published in 1847). From 1854 to 1859 he was in the Philippines, where he directed the police station. He returned to Spain in 1860. In 1863 he accompanied Marià Fortuny (whom he had met through the Madrazos) on a trip to Morocco, where he visited Tangiers and Tetouan. The country was still in some disarray due to the recent Spanish-Moroccan war. This served as inspiration for his best-known work, The Assault of the Moors, which depicts an 18th-century raid on the Jewish quarter of Tetouan. On returning to Madrid he set up a studio and began to create paintings from the sketches he had made. From 1872 to 1873 he visited Egypt and Palestine. While in Egypt he acquired several antiquities, which he sold to the Spanish National Archaeological Museum, thus relieving some of his financial burdens. He continued to live in Madrid, but made frequent trips to Paris; partly due to the political instability in Spain that resulted in the Third Carlist War.

Estim. 1 500 - 1 800 EUR

Lot 18 - JULIO MOISÉS FERNÁNDEZ DE VILASANTE (Tarragona, 1888 - Cantabria, 1968). "Female portrait", 1922. Oil on canvas. Signed and dated in the lower left corner. Presents on the back label of the 1923 exhibition at the Junta Municipal d'Exposicions d'Art. Measurements: 110 x 93 cm; 131 x 115 cm (frame). Julio Moisés Fernández de Villasante spent his childhood and adolescence in Galicia and Cadiz, city in whose School of Fine Arts he began his painting studies. There he won several prizes and received commissions such as the one to decorate its Gran Teatro. In 1912 he moved to Barcelona and in his first participation in a National Exhibition of Fine Arts he obtained a third medal. He repeated with a second and a first prize in the editions of 1915 and 1920. He was also awarded in the International Exhibitions of San Francisco (1915) and Panama (1916). His work would continue to be exhibited throughout his life, such as the various solo exhibitions that in the 1930s took him to Brazil, Uruguay and Argentina. Settled in Madrid since 1920, he taught for several years after founding a Free Academy of Art in 1923. Students such as Salvador Dalí passed through it, while he was requested by the Royal House to portray H.M. King Alfonso XIII and Queen Victoria Eugenia. The theme of his work was, above all, genre painting and the female portrait, a mixture of costumbrismo and folklore in equal parts. Such was the Mujer con garrafa en la mano that he signed in 1945 to illustrate the UEE calendar and with which, following the iconographic tradition of the collection, he contributed his own vision of the ideal canons of feminine beauty. His talent was recognized with his appointment as director of the School of Fine Arts in 1946 and as an academician of the San Fernando School in Madrid in 1947.

Estim. 1 500 - 1 900 EUR

Lot 19 - MARCELINO DE UNCETA Y LÓPEZ (Zaragoza, 1835 - Madrid, 1905). "The talk". Oil on panel. Signed in the lower left corner. Measurements: 14 x 23 cm; 31.5 x 40 cm (frame). Marcelino de Unceta abandoned his military career to devote himself to painting. He entered the School of Fine Arts of San Luis de Zaragoza. Later he continued his studies at the San Fernando School in Madrid, where he was a disciple of the Madrazo and Carlos Luis Ribera. He participated in the National Exhibitions of Fine Arts as a history painter, and in 1864 the State acquired one of his works, "A Moroccan carrying a horse". He was also an illustrator, and among his works stand out the lithographs he made for the "Historia de la villa y corte de Madrid", by Amador y Rada, published for the first time in 1860. In 1866 he returned to Zaragoza, where he carried out important commissions such as those for the Basilica del Pilar and the municipal theater. Later he returned to Madrid, where he painted a portrait of Alfonso XII and continued to participate in the National Exhibitions. He is represented in the Prado Museum, the Museum of Fine Arts of Zaragoza and the Central University of Barcelona.

Estim. 2 200 - 2 400 EUR

Lot 20 - CECILIO PLÁ GALLARDO (Valencia, 1860 - Madrid, 1934). "The Circle of the Misers", Circle of Hells Series, Dante. Oil on canvas. Without signature. Measurements: 90 x 112 cm; x 111.50 x 132.50 cm (frame). Cecilio Pla begins his formation in the Academy of Fine Arts of San Carlos of Valencia, to continue later in that of San Fernando of Madrid, where he had Emilio Sala as teacher. In 1880 he made a study trip to Rome, visiting Italy, France and Portugal. From there he began to send works to the National Exhibitions of Fine Arts, being awarded a third medal in 1884 for the work of Italian theme "The Dante: circle of the greedy", and second medal in 1887 for the religious canvas entitled "Burial of Santa Leocadia". In 1892 he obtained again a second medal for the realistic painting of social intention "Las doce (el almuerzo)", and the same award in 1895 for a scene of conjugal disagreement in a bourgeois interior, "Lazo de unión". Pla continued to participate in the National Exhibitions throughout his life, obtaining in 1910 consideration of first medal for the painting "Two Generations", characterized by the different effects of natural light that were the true specialty of this artist. That same year of 1910 he replaced his former teacher Emilio Sala in the class of color aesthetics and pictorial procedures at the San Fernando Academy, where he taught Juan Gris, Francisco Bores, Pancho Cossío and José María López Mezquita, among others. It was then that he published his "Cartilla de arte pictórico". Pla also participated in international competitions, being awarded a medal of honor at the Universal Exposition of Paris in 1900. In 1924 he was named academician of San Fernando. He alternated his teaching activity with painting, as well as collaborating as an illustrator with publications such as "La Ilustración Española y Americana", "Blanco y Negro" and "La Esfera". He also made posters, such as the one for the Carnival of the Círculo de Bellas Artes in 1892, and participated in mural decorations, including the ceiling of the hotel of the Infanta Isabel de Borbón, the Casino of Madrid, the Círculo de Bellas Artes or the palace of the Dukes of Denia. Considered the greatest exponent of Valencian modernist painting, he nevertheless embraced different trends, from the academicism and costumbrismo of his beginnings to the Wagnerianism and luminism of his coastal views painted in Valencia. Currently, Cecilio Pla is represented in the Prado Museum, the Thyssen-Bornemisza Museum, the Fine Arts Museums of Valencia, Zaragoza, Santander and Bilbao, the Círculo de Bellas Artes of Madrid, the City Hall of Valencia and the Royal Academy of Fine Arts of San Carlos, among other public and private collections, such as the UEE Collection. In 1999, the Mapfre Foundation dedicated an extensive retrospective to him.

Estim. 8 000 - 9 000 EUR

Lot 21 - JOSÉ MIRABENT GATELL (Barcelona, 1831 - 1899). "Fruit still life". Oil on cardboard. Signed in the lower right corner. The frame is missing. Measurements: 36 x 45 cm; 49 x 58 cm (frame). José Mirabent studied at the School of La Lonja in Barcelona, where he was a disciple of Pablo Milá Fontanals, Claudio Lorenzale and Segismundo Ribó, from whom he received the influence of the Nazarene aesthetics. In 1855 he entered as an assistant at the aforementioned school, obtaining in 1872 the category of professor of decorative painting, fabrics and prints. In his first period he can be considered as a romantic painter attached to the Nazarene line of his masters, and he painted mainly portraits and still lifes with flowers and fruits. Later he specialized in interior decoration, an activity in which his work for the Gran Teatro del Liceo and the University of Barcelona, the Balaguer Museum in Vilanova i la Geltrú and the Madrid churches of Buen Suceso, the Salesas Reales and the convent of the Madres Reparadoras are especially noteworthy. With his paintings of flowers and fruits he took part in the National Exhibitions of Fine Arts, in Madrid, and obtained several prizes: honorable mention in those of 1856 and 1858, third medal in those of 1860 and 1867, and decoration in 1871. He was also awarded a gold medal at the Universal Exposition 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 Prado Museum, the Museum of Modern Art and the Romantic Museum in Madrid, the Royal Academy of Sant Jordi, the Ateneo and the Gallery of Illustrious Catalans in Barcelona, etc.

Estim. 5 000 - 6 000 EUR

Lot 22 - AGUSTÍN REDONDELA (Madrid, 1922 - 2015). "The olive grove (Guadalajara)", 1978. Oil on canvas. Presents label on the back of the Biosca Gallery (Madrid). It has faults in the frame. Signed and dated in the lower right corner. Signed, dated, titled and located (Madrid) on the back. Measurements: 46 x 55 cm; 70 x 79 cm (frame). In this work Redondela offers us a sober landscape, typically Castilian, dominated by an atmosphere of great evocative power, based on the contrast of the tonalities of the foreground with the sky. The painter leaves aside the narrative description of the landscape to build it using only the color, very worked and studied, and a synthetic, expressive and emphatic line based on thick black strokes. Guadalajara was a prolific scene in Agustín Redondela's painting, becoming the protagonist of many of his works. A mainly self-taught painter, considered one of the most original Spanish landscape painters of the 20th century, Agustín González Alonso trained with his father, the painter and scenographer José González "Redondela". After the civil war he attended classes at the School of Arts and Crafts in Madrid with the landscape painter José Ordoñez, and in 1945 he sent for the first time a painting to the National Exhibition of Fine Arts, signed with the pseudonym Redondela. That same year he held his first personal exhibition at the Estilo Gallery in Madrid. It was at this time when he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Salón de los Once de la Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela obtained a grant from the Catherword Foundation of Philadelphia (1954), the National Painting Prize (1953) and the first medal at the National Exhibition (1957). Throughout his career he combined painting with stage design, working for plays by Jacinto Benavente, Joaquín Calvo Sotelo, Dodie Smith and Peter Ustinov, among others. He also did some work as an illustrator, including a luxurious edition of Cela's "Viaje a la Alcarria" in 1978. In 1996 the Real Academia de Bellas Artes de San Fernando awarded him the José González de la Peña prize, and two years later the Centro Cultural de la Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, the Camón Aznar Museum in Zaragoza, the museums of Buenos Aires, Caracas and Havana, and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections. Presents label on the back of the Biosca Gallery (Madrid). It has faults in the frame.

Estim. 2 400 - 2 800 EUR

Lot 23 - RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894). "La model". Oil on canvas. Relined. Without signature. Attached to the back a label of the Sala Parés in Barcelona. It has patches on the back. Measurements: 182 x 89 cm. With the feet wrapped in a cloth that slides down the legs, the model is shown naked and full body but turns her head as if she wanted to hide her identity, while adopting an ambiguous gesture deceptively modest. Martí Alsina's women are of great carnal forcefulness, which here is accentuated by the black background and by the natural size of the figure. The shaping of their limbs is masterly, which gives the anatomy a sculptural cadence but is free of all idealism, making it vivid, spontaneous and sensual. The silky qualities of the jet hair, the luminous modeling of the forms, the perfect roundness of the knees, etc. denote the imprint of a master. 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 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 portraits in a naturalistic style 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. 6 000 - 8 000 EUR

Lot 24 - ERNEST SANTASUSAGNA SANTACREU (Barcelona, 1900 - Santa Coloma de Gramenet, Barcelona, 1964). "Venus of the mirror". Oil on canvas. Presents restorations. Signed in the lower right corner. Measurements: 65 x 80 cm; 93 x 109 cm (frame). This work leaves testimony of a deep knowledge of the work of the master of the baroque Velázquez, besides a privileged artistic pulse: the vivid pink flesh tones of the model, the way of spreading of the white sheet, the material sense printed in, the metallic reflection of the mirror... are aspects that give account of a worthy follower of the wake of Velázquez. With the utmost wisdom, he succeeds in making the cresting body acquire tactile qualities, as well as the little Cupid. Santasusagna's painting, with its naturalistic language, has always been devoted to the enhancement of feminine sensuality, in its forms and freshness, but without idealization. On this occasion he achieves it through this carnal and realistic Venus, as it was also in Velázquez's interest to take as models young women from his environment instead of representing unreal goddesses. Ernest Santasusgana began his training at the Baixas Academy in Barcelona, and then furthered his studies at the School of Arts and Crafts of La Lonja. He would later become a professor at the latter and, when the institution's teachings were broken down, he became a professor at the Superior de Bellas Artes de San Jorge. He was a member of the Real Círculo Artístico, and made his debut at the Sala Parés in 1928. From then on he repeated his presence in the Pinacoteca room, as well as taking part in the Salones de Otoño and the Spring Exhibitions of Barcelona, among other contests and exhibitions. He was distinguished with honorable mention in the International Exhibition of Barcelona in 1929, in the National Exhibition of Madrid in 1941 with a third medal and in the National Exhibition of Barcelona in 1944 with the prize of honor. He was also awarded twice by the Círculo Artístico. In addition to his hometown, Santasusagna showed his work in Madrid, San Sebastian and Bilbao, and participated in group exhibitions in Egypt, Brazil, Argentina and Italy, as well as in the Biennials of Venice, Berlin and Spanish Contemporary Art in Buenos Aires. He also worked as a poster designer for Metro Goldwin Mayer. His works can be found in several Spanish museums, as well as in many national and foreign collections. It presents restorations.

Estim. 2 000 - 3 000 EUR

Lot 25 - MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo. Sculpture, painting and drawing", Montserrat Blanch, nº197, page 114. Provenance: Jacky J. Druker Collection, friend and patron of Joan Brotat. Measurements: 34 x 34 x 3 cm; 6 cm (base height). 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 theme 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 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. 2 200 - 2 500 EUR

Lot 26 - SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937). "Coastal scene in Vilanova y la Geltrú". Oil on canvas. Signed in the lower right corner. Located on the back. Presents restorations. Measurements: 60 x 100 cm; 73,5 x 114,5 cm (frame). In spite of being born in Madrid, Matilla was formed and developed his career in Barcelona. He studied Fine Arts at the Lonja de 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 received 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. 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. 3 000 - 3 500 EUR

Lot 27 - JOSEP PUIGDENGOLAS BARELLA (Barcelona, 1906 - 1987). "Calatayud", 1957. Oil on canvas. Signed in the lower right corner. Measurements: 73 x 92 cm. In this work Puigdengolas demonstrates his absolute mastery of the technique and the capture of the landscape, in an image in which he manages to synthesize the naturalistic representation, the personal expression and the pictorial order. We see a sensitive brushstroke, which explores the space and gives it form and entity, creating volumes, lights and shadows, defining an atmosphere captured with great sensitivity. Through a purely personal language, Puigdengolas synthesizes the basic elements of representation and expressiveness of painting, as can be seen in the intensity of his colors or in the rigor of his compositional structure. Josep Puigdengolas was trained at the schools of Arts and Crafts and La Lonja, in Barcelona, and later completed his studies at El Paular and at the Royal Academy of Florence. He was a disciple of Eliseo Meifrén and Joaquín Mir. In 1951 he was appointed professor of drawing at the School of Fine Arts of Sant Jordi. Although he had his studio in Barcelona, he frequently painted in La Cerdanya and Mallorca, specifically in the town of Deià. His work, of a luminous naturalism, derives from the wake of Mir, and earned him great acceptance by the public. He focused his work on landscape, but he also worked on portraits. Throughout his career he held several solo exhibitions, such as the one organized at the Salón Cano in Madrid in 1962, and participated in group exhibitions and competitions such as the National Exhibition of Fine Arts. A few months before his death, in January 1987, he held his last exhibition at the Sala Parés in Barcelona. He is currently represented at the Museo Nacional Centro de Arte Reina Sofía and the MACBA in Barcelona, among others.

Estim. 2 200 - 2 500 EUR

Lot 28 - JUAN RIBERA BERENGUER, (Valencia, 1935 - Valencia, 2016). "Old train station of Aragon, Valencia". Oil on paper. Signed in the lower right corner. Measurements: 89 x 174 cm; 104 x 189 cm (frame). Trained at the Escuela Superior de Bellas Artes de Valencia, Juan Ribera was a founding member of artistic groups such as Parpalló, Arte Actual and Movimiento Artístico del Mediterráneo. He has been part of the Valencian and Madrid artistic avant-garde, participating in the exhibitions of the Juan Mordó gallery. He exhibited individually at the Dirección General de Bellas Artes de Madrid (1969) and the Museo de la Ciudad de Valencia (1998), among other centers, and participated in important group exhibitions such as those held at the Museum of Modern Art in Paris (1963), "Pintores figurativos de la España actual" (1964), which toured the United States, and the IVAM in Valencia. Throughout his career he has received pensions from the Diputación and the City Council of Valencia, the Casa Velázquez in Madrid and the March Foundation, and has been awarded the Valencia Prize at the Fine Arts Exhibition in Barcelona (1960), the Diputación de Valencia at the National Exhibition in Madrid (1968), the gold medal at the Salón de Marzo in Valencia (1977) and the Archival Prize for artistic merit (1995), among others. Ribera is represented in the San Pío V Museum of Valencia, the Museum of Contemporary Art of Vilafamés, the Municipal Museum and the Circle of Fine Arts of Madrid, the Museum of Springfield (Massachusetts), the Cathedral, the Diputación, the Ateneo and the Museum of the City of Valencia, etc.

Estim. 8 000 - 9 000 EUR

Lot 29 - PERE YSERN ALIÉ (Barcelona, 1875 - 1946). "Serra Tramontana, Mallorca", ca. 1920. Oil on canvas. Signed in the lower right corner. Measurements: 54 x 65 cm. Pere Ysern Alié was a disciple of Pere Borrell del Caso in his academy, where with Ramón Riera he formed the generating nucleus of the group "El Rovell de l'Ou". He was presented for the first time at the General Exhibition of Fine Arts in Barcelona in 1894, and in 1896 he traveled to Rome, where he stayed for two years and completed his training with Ramón Tusquets. On his return to Barcelona, in 1898, he took part in the Municipal Exhibition of Fine Arts. The following year he settled in Paris, where he exhibited at the Salon des Artistes Français in 1900. He was also a regular participant in the Salon des Indépendants. A clear sign of his international success was his participation, in 1901, in the International Exhibition of Saint Petersburg, where the Czar of Russia bought one of his paintings. Settled in Paris, he made occasional visits to Barcelona, where he exhibited his work at the Sala Parés in 1901 and 1903, and participated in the collective exhibition of the Association of Catalan Painters and Sculptors in 1905. In 1927 he returned to Spain, and from then on his presence in Barcelona and Catalan competitions was constant, and his painting was finally valued in our country. Today he is mainly represented in the MACBA, as well as in the Luxembourg Museum in Paris, the National Art Museum of Catalonia, the La Caixa Foundation and various private collections.

Estim. 1 800 - 2 000 EUR

Lot 30 - GEORGES CALLOT (Paris, 1857-1903). "The photograph". Ink and pencil on paper. Signed in the lower left corner. Measurements: 23 x 18 cm; 36 x 30 cm (frame). A painter of genre, allegorical scenes and nudes, Georges Callot trained at the School of Decorative Arts and then at the School of Fine Arts in Paris. He participated for the first time in the Salon in 1877. In 1890, he became a member of the Société Nationale des Beaux-Arts. Today his work is preserved in museums such as the Musée d'Orsay in Paris, in Châlons-en-Champagne or the Art Renewal Center.

Estim. 400 - 450 EUR

Lot 31 - JOAN CARDONA I LLADÓS (Barcelona, 1877 - 1957). "Elle quitte ses gants". Charcoal and gouache on paper. Signed in the lower right corner. Work published in: - "Ceinture Dorée" by Victorien du Saussay, 1907. - Catalog "Joan Cardona. The Glamour of the Belle Époque", page 170, n.417J. Signed in the lower right corner. Measurements: 26 x 18,5 cm; 50 x 42 cm (frame). Joan Cardona was an indispensable figure of the Belle Époque aesthetics, contributing to define the glamorous environments of the elegant Paris of the decline of the XIX century. Critics even spoke of the "Cardona style" to refer to the exclusivity of his work. From 1900, when he settled in Paris, until 1914, when the First World War sent him back to Barcelona, he was one of the most renowned illustrators in the French capital. Trained at the Escuela de Bellas Artes de la Lonja and at the Academia Baixeras in Barcelona, he furthered his studies in Paris, where he settled for several years. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. Painter and draftsman, he developed an important activity in the field of illustration, collaborating with Spanish magazines such as "El Gato Negro" and "Hispania", and in the French magazines "Le Rire" and "Simplicissimus". His collaboration with "Jugend", the flagship magazine of Viennese modernism, the Jugendstil, stands out. In his Parisian period Cardona achieved international fame thanks to his pen drawings, characterized by the sharpness of the stroke and strong expressive values. On the contrary, in his painting he subordinates line to color, with warm tones in his early years and cold ranges in his maturity. His paintings, of great expressive force and dense impasto, define the protagonism of the woman, who is outlined on vibrant, almost abstract backgrounds, in a style that brings him close to Anglada Camarasa. In 1897 he was awarded a prize in the competition organized by the Mariana Academy of Lleida. He exhibited in Paris in the Salons d'Automne and of the Societé Nationale, obtaining in both the title of "societaire". He participated in the International Exhibitions of Fine Arts of Barcelona in 1907 and 1929. He is represented in the Museum of Luxembourg, in Paris.

Estim. 4 200 - 4 500 EUR

Lot 32 - JOAN REBULL TORROJA (Reus, 1899 - Barcelona, 1981). "Female bust. Terracotta sculpture on marble base. Signed. It is a preparatory study for a sculpture now preserved in the MNAC, n. inventory 010048000. Measurements: 26 x 14 x 16 cm; 9 cm (height of base). This work is an eloquent sample of the most personal work of Joan Rebull, an artist who develops a language of classical roots in the aesthetic, based on the principles of nobility, beauty and proportion, which uses however an idealization and a synthesis of the forms according to the avant-garde and not the models of classical antiquity. Thus, we are faced with a serene, balanced portrait of a certain immutable character, archaic and almost sacred in the perfection of its proportions and structural lines, which establishes a bridge between the ancient idols and avant-garde plastic research. Considered the most outstanding Catalan sculptor of his time, Joan Rebull began in the world of sculpture in his hometown, under the sculptor Pau Figueres. In 1915 he moved to Barcelona to begin his artistic training at the School of Fine Arts of La Lonja, while working in the workshop of the marble artist Bechini. In 1916 he made his individual debut with an exhibition at the Centro de Lectura in Reus, and the following year he founded, together with other artists, the group known as "Els Evolucionistes", which aimed to replicate the Catalan Noucentisme. In 1921 he traveled to London and Paris, cities where he was particularly impressed by the ancient art housed in their museums. Between 1926 and 1929 he lived in the French capital and took part in the Salon des Indépendants, although he also sent works to exhibitions in Barcelona. In Paris he was the first artist hired by the prominent Catalan art dealer Joan Merli. On his return he was appointed president of the new Montjuic Salon (1932) and a member of the Sant Jordi Academy (1934), took part in various exhibitions in Madrid and Barcelona and, in 1938, won the Campeny Prize at the Salon d'Automne in Barcelona. After the war, he went into exile in Paris, where he took an active part in artistic life, attending the exhibition "Le Jeune Sculpture Française" and the Salons d'Automne. He returned to Barcelona in 1948, and three years later won a great prize at the I Bienal Hispanoamericana de Arte in Madrid. In 1962 he was appointed professor at the School of Fine Arts of Sant Jordi, and shortly before his death he was awarded the gold medal of the Generalitat de Catalunya. A child of noucentista perfectionism and a great draughtsman, Rebull works with great technical mastery and certainty in the path to follow. His is a direct and anti-rhetorical sculpture, based on a serene and essential vision of reality. His style can be defined as a reencounter with the source of classicism, from which he never copies the consequences. He is represented in the National Art Museum of Catalonia, the Reina Sofia National Center, the Barcelona City Hall, the Monastery of Montserrat and the Palau de la Música Catalana, among other centers.

Estim. 3 200 - 3 500 EUR

Lot 33 - ISMAEL SMITH MARÍ (Barcelona, 1886 - New York, 1972). "Female nudes". Pencil on paper. Signed with stamp in the upper left corner. Presents rust stains. Measurements: 30 x 23 cm; 60 x 49,5 cm (frame). Sculptor, draftsman and engraver, he was one of the first artists considered novecentistas by Eugenio D'Ors. Trained at the La Lonja School in Barcelona and at the Baixas Academy, he was a student of the sculptors Benlliure, Querol, Vallmitjana and Llimona. Awarded a prize in a competition for new artists at the Ateneo Barcelonés in 1903, in 1906 he exhibited at the Sala Parés. He obtained second and third medal in the V International Exhibition of Fine Arts of Barcelona, in 1907, and second medal in the VI, in 1911. In 1910 he travels to Paris on a grant from the City Council of Barcelona. Between 1913 and 1914 he studied at the National School of Decorative Arts in the French capital, and then began a series of trips to England and the United States, holding numerous exhibitions. He settled permanently in New York in 1918, where he collaborated with the Hispanic Society. In 2005 the Palau Foundation dedicated a retrospective to him. The matrices of his engravings are conserved in the Graphic Unit of the Library of Catalonia and in the Calcografía Nacional in Madrid. Many of his prints are also in the British Museum in London, and he is also represented in the Museo Reina Sofía in Madrid, the Museo de Arte Contemporáneo in Barcelona, the MoMA in New York, the Calcografía Nacional in Madrid and the Biblioteca de Cataluña.

Estim. 400 - 450 EUR

Lot 34 - FRANCISCO JAVIER GOSÉ ROVIRA (Alcalá de Henares, 1876 - Lleida, 1915). "Lady with cat", 1913. Lithographic poster. Estampes D'Art Devambez. With publisher's stamp. Signed in plate. Work cataloged in "Xavier Gosé, Il.lustrador de la modernitat", Ed. Museu Nacional d'Art de Catalunya (MNAC), 2015, Barcelona, p. 18. Collection: Monografies (Museu Nacional d'Art de Catalunya), 3. Presents some damage, wrinkles and lateral faults of the paper. Measurements: 50 x 35 cm. Javier Gosé's style oscillates between modernism and French art-deco and reflects the life of Parisian society. Inspired by the mundane life of the cafés-concert, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of the French society of the time, although it is not exempt of certain picaresque characteristic of the carefree Paris. Francisco Javier Gosé was an essential draftsman and painter in the graphic world and fashion in the transition from the nineteenth to the twentieth centuries. He studied in Barcelona, where he was assistant to the draftsman José Luis Pellicer. He collaborated from an early age in Barcelona publications, from "La Esquella de la Torratxa", "La saeta", in which it is clear his attachment to modernism, to "Mundial Magazine" and "Fémina", where a pre-cubist line is already beginning to be seen. His first exhibition was held at Els Quatre Gats. During his time in Barcelona he portrayed the proletariat, although in 1900 he traveled to Paris, where he collaborated with "La vie Illustrée", "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Until this moment his works showed a satirical and realistic look on the bourgeois, snobs and prostitutes, although this look changed in 1907, when he began a more stylized, less realistic and less ironic stage, especially because of his beginning in the world of fashion, in which Gosé sought to set a trend among the female society. His time in Paris was the turning point in his life and artistic production, since the French capital was the place where he expanded his knowledge, becoming a successful artist who would get interesting commissions as illustrators in the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance that, together with the serious health problems he was suffering, deprived him of the elegant Parisian environment, moving to the city of Vichy, famous for its spas. Soon after, Gosé moved back to Barcelona, spending the last days of his life in Lleida. Among the posthumous exhibitions, the Círculo Artístico, the same year of his death, the retrospective at the Rovira Gallery (1970) and the La Caixa Foundation (1984) stand out. He is represented in the Museums of Modern Art in Barcelona and Madrid, among others.

Estim. 2 800 - 3 000 EUR

Lot 35 - FRANCISCO JAVIER GOSÉ ROVIRA (Alcalá de Henares, 1876 - Lleida, 1915). "L'arbre de Mai. Robes simples pour l'eté". Pochoir illuminated by hand on Velin paper. Signed. State proof of L'Arbre de Mai-Revista La Gazette du Bon Ton 1914, nº5, p. 42. Measurements: 19 x 34 cm; 26 x 40 cm (passe-partout). Javier Gosé's style oscillates between modernism and French art-deco and reflects the life of Parisian society. Inspired by the mundane life of the cafés-concert, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of the French society of the time, although it is not exempt of a certain picaresque characteristic of the carefree Paris. Francisco Javier Gosé was an essential draftsman and painter in the graphic world and fashion in the transition from the nineteenth to the twentieth centuries. He studied in Barcelona, where he was assistant to the draftsman José Luis Pellicer. He collaborated from an early age in Barcelona publications, from "La Esquella de la Torratxa", "La saeta", in which it is clear his attachment to modernism, to "Mundial Magazine" and "Fémina", where a pre-cubist line is already beginning to be seen. His first exhibition was held at Els Quatre Gats. During his time in Barcelona he portrayed the proletariat, although in 1900 he traveled to Paris, where he collaborated with "La vie Illustrée", "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Until this moment his works showed a satirical and realistic look on the bourgeois, snobs and prostitutes, although this look changed in 1907, when he began a more stylized, less realistic and less ironic stage, especially because of his beginning in the world of fashion, in which Gosé sought to set a trend among the female society. His time in Paris was the turning point in his life and artistic production, since the French capital was the place where he expanded his knowledge, becoming a successful artist who would get interesting commissions as illustrators in the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance that, together with the serious health problems he was suffering, deprived him of the elegant Parisian environment, moving to the city of Vichy, famous for its spas. Soon after, Gosé moved back to Barcelona, spending the last days of his life in Lleida. Among the posthumous exhibitions, the Círculo Artístico, the same year of his death, the retrospective at the Rovira Gallery (1970) and the La Caixa Foundation (1984) stand out. He is represented in the Museums of Modern Art in Barcelona and Madrid, among others.

Estim. 1 500 - 1 600 EUR

Lot 36 - FRANCISCO JAVIER GOSÉ ROVIRA (Alcalá de Henares, 1876 - Lleida, 1915). "Lady with dog", 1913. Lithographic poster. Estampes D'Art Devambez. With publisher's stamp. Signed in plate. Work cataloged in "Xavier Gosé, Il.lustrador de la modernitat", Ed. Museu Nacional d'Art de Catalunya (MNAC), 2015, Barcelona, p. 18. Collection: Monografies (Museu Nacional d'Art de Catalunya), 3. Presents some damage, wrinkles and lateral faults of the paper. Measurements: 50 x 35 cm. Javier Gosé's style oscillates between modernism and French art-deco and reflects the life of Parisian society. Inspired by the mundane life of the cafés-concert, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of the French society of the time, although it is not exempt of certain picaresque characteristic of the carefree Paris. Francisco Javier Gosé was an essential draftsman and painter in the graphic world and fashion in the transition from the nineteenth to the twentieth centuries. He studied in Barcelona, where he was assistant to the draftsman José Luis Pellicer. He collaborated from an early age in Barcelona publications, from "La Esquella de la Torratxa", "La saeta", in which it is clear his attachment to modernism, to "Mundial Magazine" and "Fémina", where a pre-cubist line is already beginning to be seen. His first exhibition was held at Els Quatre Gats. During his time in Barcelona he portrayed the proletariat, although in 1900 he traveled to Paris, where he collaborated with "La vie Illustrée", "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Until this moment his works showed a satirical and realistic look on the bourgeois, snobs and prostitutes, although this look changed in 1907, when he began a more stylized, less realistic and less ironic stage, especially because of his beginning in the world of fashion, in which Gosé sought to set a trend among the female society. His time in Paris was the turning point in his life and artistic production, since the French capital was the place where he expanded his knowledge, becoming a successful artist who would get interesting commissions as illustrators in the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance that, together with the serious health problems he was suffering, deprived him of the elegant Parisian environment, moving to the city of Vichy, famous for its spas. Soon after, Gosé moved back to Barcelona, spending the last days of his life in Lleida. Among the posthumous exhibitions, the Círculo Artístico, the same year of his death, the retrospective at the Rovira Gallery (1970) and the La Caixa Foundation (1984) stand out. He is represented in the Museums of Modern Art in Barcelona and Madrid, among others.

Estim. 2 800 - 3 000 EUR

Lot 37 - LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929). "Chestnut tree". Oil on canvas. Signed in the lower right corner. Presents craquelures. Measurements: 50 x 36 cm; 68 x 56 cm (frame). Luis Graner was formed in the School of La Lonja of Barcelona, where he was a disciple of Benito Mercadé and Antonio Caba, and in 1886 he moves to Paris thanks to a scholarship of the Diputación 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.

Estim. 2 200 - 2 500 EUR

Lot 38 - Attributed to THÉODORE ROUSSEAU (France, 1812 - 1867). "The mowing". Oil on canvas. Label signed on the back. Measurements: 28 x 41 cm; 42,5 x 56 cm (frame). A reaper carries a bundle of hay on his back and goes towards a cart already full of pressed straw. An ox is stopped in the middle of the road, and another seeks shade under the mountains of hay. Behind the figures a wide blue sky is dotted with wisps of wispy clouds. The brushstroke is vibrant and the stroke thick, giving rise to an impressionist language comparable to that of the Barbizon School. One of the main representatives of the Barbizon School, characterized by a realistic vision of landscape, Théodore Rousseau shared the difficulties of the Romantic painters of 1830 in securing a place for his paintings in the Paris Salon. After being rejected at the 1836 show, he retired to Barbizon and formed, along with other artists such as Corot or Millet, the so-called Barbizon School. There he cultivated the painting of outdoor landscapes, with a treatment of nature close to that of the Dutch masters of the seventeenth century, especially focused on atmospheric and natural phenomena. It was not until 1848 that his work was properly presented to the public, when he was finally admitted to the Paris Salon. That same year he settled permanently in Barbizon, where he would spend the rest of his life. At the Universal Exhibition of 1853, where all of Rousseau's previously rejected paintings were brought together and a room was dedicated to him, he was recognized by the public and critics as one of the best participants in the show. His works are characterized by their sober character, with an air of exquisite melancholy that is powerfully attractive to the viewer. Rousseau is currently represented in leading museums around the world, including the Louvre and Orsay in Paris, the Hermitage in St. Petersburg, the National Gallery in London, the Rijksmuseum in Amsterdam, the Frick Collection in New York, the Thyssen-Bornemisza in Madrid and the Albertina in Vienna, among many others.

Estim. 1 800 - 2 000 EUR

Lot 39 - CHARLES-EMILE JACQUE (France, 1813 - 1894). "The end of the day". Oil on canvas. Signed in the lower margin. Measurements: 29 x 38,5 cm; 35 x 45 cm (frame). A peasant, mounted on a white horse, occupies the center of this landscape composition of a sunset rich in earthy and ochre shades. The two horses drink from a pond, whose calm waters ripple gently and act as a mirror of the silver lights of the sky. Charles-Emile Jacque was a French painter and engraver of the Barbizon School who specialized in painting animals. He began learning to engrave maps when he was in the French army. After military service, he went to England, where he worked as an engraver for Le Charivari. In painting, his subject matter was mainly rustic: shepherds, flocks of sheep, pigs, and scenes of farm life. Returning to France after living abroad for two years, he made his debut at the Paris Salon of 1833 with two works and contributed works regularly to the Salon until 1870. Awarded for both his etchings and his paintings, he received the Legion of Honor in 1867.

Estim. 1 800 - 2 000 EUR

Lot 40 - FILIPPO TOMMASO MARINETTI (Alexandria, Egypt, 1876-Bellagio, Como, 1944). "Futurism against passatism". London, 1914. Mixed media on paper. Signed and dated. With drawing on the back by JOSÉ CAPUZ (1884-1964). Measurements: 21 x 18 cm. Graphic composition by Marinetti, an original drawing by the founder of Futurism (perhaps a sketch for a poster), on the back of which appears a drawing by the sculptor José Capuz. Dated in London, significantly, the year of the outbreak of the First World War. Known for being the founder of the Futurist movement, the first Italian avant-garde of the nineteenth century, which served as the basis for Mussolini's fascism. Marinetti was an Italian poet, writer, ideologue, playwright and editor. He came from the utopian and symbolist artistic and literary community Abbaye de Créteil, of which he was a member between 1907 and 1908. Both as a poet and as a politician and ideologist, he was strongly influenced by Friedrich Nietzsche, Sorel, Giuseppe Mazzini and by the poet Gabriele D'Annunzio, being the author of the Futurist Manifesto, written and published in 1909, and also of the Fascist Manifesto, written and published in 1919. Considered the father of Italian fascism, he worked closely with Mussolini and greatly inspired the latter. In 1942 he fought in Soviet territory as part of an Italian expeditionary force, being wounded at Stalingrad. His most famous poem is "The 5 Stars". Mainly a sculptor, although he was also a painter and draftsman, José Capuz was trained at the Royal Academies of Fine Arts of San Carlos in Valencia and San Fernando in Madrid. He furthered his studies in the workshop of the sculptor Félix Granda and, thanks to a scholarship, he made a long trip that took him to Rome, Florence, Naples and Paris. Academic of San Fernando since 1927, he is currently represented in the Provincial Museum of Jaen and the collections of various brotherhoods, as well as public places in various Spanish cities.

Estim. 2 000 - 2 500 EUR

Lot 41 - Circle of JOHAN BARTHOLD JONGKIND (Lattrop, 1819-around Grenoble, 1891). "Sunset." Oil on panel. Measurements: 25,5 x 33,5 cm; 34 x 41,5 cm (frame). Painting of coastal theme portrayed in the magic hour of the sunset. The golden disk disappears behind the horizon line and says goodbye with an igneous symphony. On the shore, huts and precarious houses are outlined in front of the sea. The painting is inspired by the nocturnal seascapes of Johan Barthold Jongkind, resolved in pre-impressionist language. Johan Barthold Jongkind was a Dutch painter and engraver considered one of the forerunners of impressionism. He studied art at the School of The Hague under the tutelage of the romantic painter Andreas Schelfhout, and painted his first pictures in the style of traditional Flemish painting. In 1846 he settled in Paris and became a pupil of Eugène Isabey until, in 1855, he was forced to return to Holland because of economic problems and settled in Rotterdam. He returned to Paris in April 1860, and from then on expressed his attraction for the marines during his stays on the Norman coast in Le Havre, Sainte-Adresse (see watercolor), Honfleur and Trouville. There he met Boudin and above all Monet, who sincerely acknowledged his debt to the Dutch artist: "to him I owe the definitive education of my eyes". He participated in the Salon des Refusés in 1863 with the painting Ruins of the Castle of Rosemont, next to Manet's controversial painting Le déjeuner sur l'herbe (Lunch on the Grass); both are now in the Musée d'Orsay. His landscapes of Normandy, of canals and beaches of the North Sea, of the banks of the Seine, of Paris, and later of Grenoble, translate in finely nuanced tones the light and atmosphere of those places. Contrary to the Impressionists, he painted his pictures in the studio after the sketches and watercolors he drew outside. Sometimes he repeated the same subject under different lights or in different seasons (a typically impressionist idea later adopted by his friend Monet). He led a disordered life and finally, with psychic problems (melancholy, paranoia) and alcoholic, he died in the asylum of Saint-Égrève near Grenoble. According to Monet, Jongkind's work, along with that of Corot and Boudin, is the origin of Impressionism.

Estim. 1 200 - 1 500 EUR

Lot 42 - MANUEL HUMBERT I ESTEVE (Barcelona, 1890 - 1975). "Landscape". 1932. Oil on canvas. Signed in the lower left corner. It belonged to the old collection of Raimond Maragall. Published in "33 peintres catalans", by Joan Merlí, 1937, p. 104. Measurements: 38,5 x 55,5 cm. Manuel Humbert's style, of a contained and delicate lyricism, is expressed in a singular way in this landscape in which the houses and gardens are integrated into nature. Humbert trained in Barcelona at the Llotja School, and was also a student of Francesc d'Assís Galí at his academy. He became known in the satirical weekly "Papitu", under the pseudonym Isaac, and also collaborated with the magazine "Picarol". In 1915 he had his first individual exhibition at the Layetanas Galleries in Barcelona. Between 1909 and 1939 he lived between Barcelona and Paris, where he became friends with Picasso, Modigliani, Soutine and Kisling. Founding member of the group Les Arts y els Artistes, in 1929 he collaborated in the decoration of the National Palace of Montjuic (current National Museum of Art of Catalonia). Friend of X. Nogués and J. Aragay, he joined the realist side of noucentisme, and participated in the Salones de los Once of 1944 and 1953, as well as exhibiting individually at the Sala Parés from 1927. He worked indistinctly in sanguine, engraving, gouache and oil. He held exhibitions in Barcelona, Madrid and Paris, and in 1934 he was awarded the Nonell Prize. Also, in 1953 he was awarded the Grand Prize for Water Painting at the Hispano-American Biennial in Havana. Manuel Humbert is the painter of women in interiors of nuanced lighting, dressed, semi-dressed or naked, although always showing a certain modesty, revealing the neat and restrained character of the author. He is currently represented in the National Art Museum of Catalonia, among others, as well as in various private collections.

Estim. 2 200 - 2 500 EUR

Lot 43 - BENJAMIN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). "Era" 40's. Oil on canvas. Signed in the lower right corner. Work verified by Ramón Palencia. Measurements: 31 x 45 cm; 60 x 75 cm (frame). In the forties, Benjamín Palencia's painting reaches full maturity when he knows how to subtract himself from cubist dogmas to return to a figuration of his own culture. He captures then the roughness of the peasant life during the postwar period, Castilian villages, corners that transmit an uncluttered and rough halo, although impregnated with feeling. 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. When he was only fifteen years old, Palencia left his hometown and settled in Madrid to develop his training 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, at the outbreak of the Civil War Palencia remains in Madrid, suffering like his peers of his generation a period of deep crisis. After the war, between 1939 and 1940 his painting took a radical turn; he abandoned the cubist and abstract influences and even the surrealist aspects, in search of an art of strong chromatic impact, linked to Fauvism. Focused on his work as a landscape painter, in 1942 Palencia takes up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work will gather images of the Castilian countryside and its peasants and animals; his painting becomes a testimony of the rough, the coarse and the rural, of the subtle expressiveness of the Castilian sobriety. Already fully consolidated, in 1943 he obtained the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to participate in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he is awarded the medal of honor at the National Exhibition, although he renounces it to facilitate its concession to José Gutiérrez Solana, who died a few days before the jury's decision. From this decade on, his exhibitions in art centers and galleries such as the Círculo de Bellas Artes in Madrid or the Estilo gallery, and in 1946 he was once again selected for the Salón de los Once. He also began to participate in international exhibitions, such as those of Spanish Contemporary Art held in 1947 in Buenos Aires, Rio de Janeiro and Sao Paulo. He was also awarded the Grand Prize at the Hispano-American Biennial in Madrid (1951) and exhibited at the Museum of Modern Art in Paris (1951), the Venice Biennial (1956), the Princess of Paravinci's Palace in Rome (1965), etc. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and in 1978 he joined the Academy of San Jorge in Barcelona. That same year he was awarded the Gold Medal for Merit in Fine Arts. Benjamín Palencia is currently represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others. Work verified by Ramón Palencia.

Estim. 12 000 - 14 000 EUR

Lot 44 - 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 45 - 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 46 - 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 47 - 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 48 - 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

Lot 49 - 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. 4 000 - 5 000 EUR

Lot 50 - 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 51 - 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 52 - 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. 1 200 - 1 500 EUR

Lot 53 - Italian school; following models of GIUSEPPE MAZZOLINI (Italy, 1806-1876), 19th century. "Maternal care", 1865. Oil on canvas. Relined. It has slight damage, Repainting and restorations on the pictorial surface and damage to the frame. Measurements: 100 x 73 cm; 119 x 93 cm (frame). The academic painter Giuseppe Mazzolini was inspired on numerous occasions by the Renaissance masters. Copying the classics was a frequent exercise among the painters of neoclassicism. Often to sell them to travelers from abroad. This painting in turn is made by a copyist. Future artists had the opportunity to learn by copying the works of the great masters. Despite being a very common practice during the nineteenth and early twentieth centuries, today the Prado Museum is the only museum in the capital that admits copyists in a reduced way so that they can not interrupt the transit of visitors. Maternity was a recurring theme during the 19th century, which was based in a certain way on a religiosity based on the figure of the Virgin and Child. The representation of maternity seeks a theme of kind and sweet character, in most cases in a warm atmosphere, where the happiness of the home is appreciated, as in the case of this painting where the treatment of light and color take us to the aforementioned atmosphere. The painting stands out for its realistic finish that can be seen both in the features of the protagonists, as in the clothing that inscribes the piece in an aesthetic trend of costumbrista character. It presents slight flaws, Repainting and restorations on the pictorial surface and damage to the frame.

Estim. 1 800 - 2 000 EUR

Lot 54 - Spanish school, after MANUEL DOMÍNGUEZ SÁNCHEZ (Madrid, 1840- 1906); XIX century. "Seneca, after opening his veins". Oil on panel. Measurements: 23.5 x 36 cm; 40 x 51 cm (frame). This work follows the models of the painting by Domínguez Sánchez, which is in the collection of the Prado Museum. The Museum describes the piece in this way "Manuel Domínguez chose a plot from ancient Rome, although linked to a great extent to the Hispanic world by having as its protagonist the Cordovan philosopher Lucius Annaeus Seneca (4-65 AD), master of Emperor Nero, who ordered his death accusing him of having participated in Pison's conspiracy against him. Mocking the execution of the imperial order as contempt for Nero, Seneca decided to take his own life. To do so, he opened his veins and got into a bathtub, although he finally died from inhaling the vapors of the bath. The success that this painting had in its time resided fundamentally in the modernity of the severe monumentality of its composition, as well as in its elegant simplicity in the disposition of the figures, of classical features, located in a wide interior space, of rich and grandiose architecture". The figures that compose it, harmony that can also be appreciated in the faces, serene, in the attitudes and in the palette chosen by the painter, very lively, but without excessive hallmarks in the coloring or in the light sources used. The historical theme of the painting is set in a glorious past related to the history of the painter's country, Spain, and can be related to the pictorial Historicism of the nineteenth century, the main current at the time, linked to the Academies of Fine Arts. The term "historicism" (Historismus) was coined by the German philosopher Karl Wilhelm Friedrich Schlegel. Over time, what historicism is and how it is practiced has taken on different and divergent meanings. Elements of historicism appear in the writings of French essayist Michel de Montaigne (1533-1592) and Italian philosopher GB Vico (1668-1744), and were more fully developed with the dialectics of Georg Wilhelm Friedrich Hegel (1770-1831), influential in 19th-century Europe.

Estim. 1 000 - 1 200 EUR

Lot 55 - Catalan school; XIX century. "Landscape". Oil on canvas. Relined. Measurements: 133 x 228 cm. The work presented here shows a colorful landscape where the costumbrismo and landscape painting merge together. The intense blue color predominant throughout the piece is joined by the ocher and green of the place, made from spots of color that give the sensation of freshness and humidity. In this way, a landscape characteristic of spring days is configured, where the breeze combs the trees and scatters on the horizon. Since the mid-nineteenth century Catalan landscape painting developed as a fully autonomous genre, a stage began that would be recognized as a true golden age in the renewal of a theme that until then had been relegated to the background as a mere accompaniment to the great mythological and biblical themes. Experimenting with the new artistic trends that emerged throughout the nineteenth and twentieth centuries, landscape painting developed under a continuous evolution, whose progressive break with academicist conventions led it towards the creative freedom of the so-called Modernity. The French influence together with the demand of the new Catalan bourgeoisie, who found in art collecting a sign of prestige to reaffirm their new social status, led to the emergence of realism in Catalonia with a boom in landscape painting. The strict observation of reality and its naturalistic expression of the surrounding world was imported by Martí Alsina as a result of his trips to Paris, a city that gave him the opportunity to see first hand the work of Courbet and the landscape painters of the Barbizon School. After this first approach to European trends, we will see how from the 70's onwards, a more spiritual conception of landscape will emerge, which will be consolidated with the arrival of symbolism. This current found in the work of Modest Urgell its main precursor, introducing in his landscapes an emotional and melancholic look.

Estim. 2 500 - 3 000 EUR

Lot 56 - Andalusian School; c. 1890. "Gypsy". Oil on canvas. Signed Rosales in the lower left corner. It has a period frame with faults. Measurements: 69 x 40 cm; 80 x 50 cm (frame). We see in this work a scene of costumbrista approach, starring a young gypsy girl. It is a composition that combines the portrait with the costumbrista genre, so in vogue in the Spanish painting of the XIX century and beginnings of the XX century. The woman has been represented in bust format, in a casual and natural attitude, with her hair slightly tousled, gathered with a rose in the lower area. The clarity of the blue sky contrasts with the brightness of the color with which the artist has configured the model, highlighting the features of the young woman, whose face hints at a soft smile. Costumbrismo painting is a genre in which popular types and attitudes, behaviors, values and habits common to a specific group of the population, region or class are described by means of a satirical, nostalgic or narrative description of the environments, customs, dress, parties and entertainments, traditions, trades and representative types of a society. The idea of costumbrismo arose from an attempt to understand reality, or more precisely, reality understood in a particular way, from a specific point of view. It has a period frame with faults.

Estim. 1 800 - 2 000 EUR

Lot 57 - JOSEP CRUAÑAS FAGES (Maià de Montcal, Girona, 1942). "Venice". 1988. Oil on canvas. Signed in the lower corner. Signed, dated and located on the back. Measurements: 92 x 74 cm; 96,5 x 77,5 cm (frame). In 1972, Josep Cruañas held his first individual exhibition in Vic, and since then he has shown his work in Madrid, Girona, Palma de Mallorca, Tarragona and Sant Cugat del Vallès. He was also a member of the Passeig de Gràcia group, attached to the Comas gallery. He is known as a landscape painter, although he has also worked in portraiture and still life. He has been awarded prizes in various competitions, and in 1996 he was named member emeritus of the Real Círculo Artístico de Barcelona. He is represented in the Museum of the Diputació de Barcelona, the Museum of Bañolas, the Pinacoteca Municipal Legado Francesc Galí de Palamós and the National Museum of Bulgaria, among other public and private collections.

Estim. 1 600 - 1 800 EUR

Lot 58 - JOAQUÍN PEINADO (Ronda, Málaga, 1898 - Paris, 1975). "Female portrait", 1946. Pencil drawing on paper. Signed and dated. Measurements: 31,5 x 25 cm; 67 x 58,5 cm (frame). Joaquín Ruiz-Peinado Vallejo was a cubist painter, successor of Cézanne and spiritual son of Picasso, he was one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918, and during the following years he became a disciple of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies, while he became interested in cubist painting, an aesthetic that he would personalize and maintain in his works. Also, in 1924 he showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of the Spanish artistic life, participating in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. Also, in 1926 he won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he participated in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures of Spanish Residents in Paris, at the Botanical Garden in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He also maintained a relationship with the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, or as a set designer and draftsman for "Carmen", by Feyder (1925). Likewise, in 1926 he participated in the representation of "El retablo de Maese Pedro" by Falla in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. Over time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would be director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. Also, in 1946 he was one of the organizers of the exhibition "Art of Republican Spain. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date on, his international exhibitions were frequent, both individual and collective, being grouped within the best French art of the time. However, it was not until 1969 when a retrospective of his work was held in Spain; organized by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was appointed member of the Royal Academy of San Telmo in Malaga. Currently his work is widely represented in the museum that bears his name in Ronda, as well as in the Unicaja collection and many other public and private collections.

Estim. 2 000 - 2 500 EUR

Lot 59 - French school, second half of the XIX century. "Gallant scene with harlequin". Oil on canvas. Signed "Rousin" in the lower right corner. Measurements: 74 x 58 cm; 101 x 88 cm (frame). The characters of the Italian Commedia dell'Arte were popularized in the European nineteenth-century painting, finding in each region an own expression. The French school often placed the characters in a natural setting, such as the leafy forest glade shown here: the harlequin adopts an elegant, devious step as he seems to whisper something in Luchinda's attentive ear. The young woman, however, remains withdrawn and melancholic. A third character appears in the undergrowth. The stylistic treatment is typical of the gallant and hedonistic theme, specifying the sumptuous smoothness of the clothes and their colorfulness, as well as the aristocratic gestures. As for the landscape, it is resolved with rapid brushstrokes based on small intuitive touches that presage the important development of French landscape painting during the second half of the 19th century. The treetops acquire a fluffy appearance, wrapped in subtle chromatic shifts, which confer a highly lyrical character to the scene.

Estim. 3 000 - 4 000 EUR

Lot 60 - ELISEO MEIFRÈN ROIG (Barcelona, 1859 - 1940). "Landscape. Oil on canvas. Signed in the lower right corner. Measurements: 34 x 45 cm; 52 x 63 cm (frame). A tholos of white marble is outlined next to a sky blue sea bordered with foam, which opens towards the horizon, leaving in the foreground a lush meadow. This is a landscape painted with vibrant brushstrokes and rapid strokes, characteristic of Meifrén's work. A 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 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. 6 000 - 8 000 EUR

Lot 61 - CASIMIRO MARTÍNEZ TARRASSÓ (Sarrià, Barcelona, 1898 - Barcelona, 1980). "Gypsy family". Oil on táblex. Signed in the upper left corner. Measurements: 22 x 26,5 cm; 41,5 x 46,5 cm (frame). Known simply as Tarrassó, he was formed in the School of La Lonja of Barcelona. He completed his studies in Paris, where he had first-hand knowledge of the Fauvist works that were shaking the Parisian art scene at the time. This Fauve influence will continue to be palpable in his work throughout his life in features such as the strong chromatic contrast, the high and somewhat exaggerated perspective, the absolute disinterest in the human figure, which appears only sketched as a complement to the landscape, and the representation of trees as electrified, subjected to tortuous inclinations. It is these formal features that give his works a vitality of their own and reduce his connection with the referential to a mere pretext. Tarrassó followed in the wake of the great Catalan landscape painters, focusing especially on Joaquín Mir, although with a clearly differentiated personality due in part to the impact that Fauvism had on his artistic thinking. He cultivated the still life and the Catalan and Majorcan landscapes. He held his first exhibition in 1928, at the Layetanas Galleries in Barcelona. Since then his exhibitions in Barcelona, Madrid, Palma de Mallorca and Bilbao followed one after the other. In 1935 he visited Mallorca for the first time, and from 1940 he had a studio there, specifically in Palma, where he lived for long periods and developed most of his artistic production. After the Civil War, during the forties, Tarrassó took part in several National Exhibitions of Fine Arts, in their editions of 1942, 1943 and 1950, and held many personal exhibitions in Barcelona, in galleries such as Augusta, Layetanas, Ars, etc., among them the one he held of Pyrenean landscapes in 1948, and the one of large canvases of Mallorcan landscapes that he presented in 1949. Although the landscape was always the center of his production, Tarrassó also made works such as the mural decoration of the church of Santa Maria de Badalona. In Mallorca he also carried out a singular undertaking, planting his easel in the Caves of Campanet to capture the stalactites and stalagmites of its stony cavities, developing a series of works that he presented at the Galerías Costa de Palma in October 1948. Throughout his career Tarrassó was awarded the Pollença Prize at the 1st International Painting Competition in 1962; the Santiago Rusiñol Prize in 1972; and the medals obtained in various editions of the Autumn Salons of Palma de Mallorca: first prize in 1967 and 1973, and honorary prize in 1970. Tarrassó's work is characterized by the great personality of his coloring. His obsession for chromatism determines a deeply sensorial, vitalist and intuitive painting. In many of his works, the painter focuses above all on capturing an image that stages the fullness of life recreated and without solution of continuity, worrying more about it than about the demands of the composition. Thus, in his landscapes the architectures appear fully integrated in a harmonious nature, as simple spots of color with undefined limits, or with defined but deformed limits. In this way Tarrassó suggests the human presence and, at the same time, prevents the viewer from perceiving it as an intervention or a rupture of the natural whole. On the other hand, the perspectives, very high or very low, combined with a combination of contracted colors, without mixing mountain and sky, sky and sea, provide a sense of depth, and sometimes even oppression, which leads the viewer to conceive the scene as an autonomous whole, regardless of details. On the other hand, it is also worth mentioning at a formal level his vigorous workmanship, combined with thick spatula, which refers to another Catalan master landscape painter to whom Tarrassó is indebted, Nicolás Raurich. His work is currently preserved in various national and international private collections, as well as in the Museum and Artistic Fund of Porreras (Mallorca) and the Museum of Modern and Contemporary Art of Palma.

Estim. 1 800 - 2 200 EUR

Lot 62 - JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937). "Cupboard and flowers", 1991. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 73 x 60 cm; 92 x 78 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. 1 500 - 1 600 EUR

Lot 63 - JOSÉ MARÍA MARQUÉS GARCÍA (Tortosa, Tarragona, 1862 - Barcelona, 1936). "The letter". Charcoal on paper. Signed in the lower corner. Measurements: 58 x 39 cm; 75 x 56 cm (frame). Son and disciple of Manuel Marqués Carles, and father of the painter José María Marqués Puig, José María Marqués García dedicated himself to landscape, portrait and religious scenes. He began his training at the La Lonja School in Barcelona, and furthered his studies in Madrid, Paris and Rome. He traveled through Spain, Italy, Switzerland and Holland, and held several solo and group exhibitions. He also took part in contests and competitions, notably the Universal Exhibition of Barcelona in 1888, the International Exhibition of London in 1898, where he won a gold medal, and the International Exhibition of Barcelona in 1929. During the last decade of the 19th century he was placed among the most important names of the time by the critics. He made a work entitled "Nuestra Señora de la Academia", destined for the Bibliográfico-Mariana de Lérida, and decorated the famous restaurant "Justin" in Barcelona. His works can be seen in the National Museum of Art of Catalonia and the Museum of Tortosa.

Estim. 1 000 - 1 200 EUR

Lot 64 - MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullring". Watercolor on paper. Measurements: 17 x 23 cm; 45 x 50 cm (frame). What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves. This was written by the French philosopher Henri Bergson, and this same principle is materialized by these bullfighters of Manolo Hugué, whose postures translate the dense tension of the instant in the ring. 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. 1 500 - 1 600 EUR

Lot 65 - JOAN ABELLÓ PRAT (Mollet del Vallés, Barcelona, 1922 - Barcelona, 2008). "Landscape". Mixed media on paper. Signed in the lower right corner. Measurements: 49 x 63 cm; 70 x 84 cm (frame). Painter and engraver, Joan Abelló began his training in a self-taught way, having in his first paintings a great influence the works that Joaquín Mir made in Mollet. He then studied at the Baixas Academy and at the Royal Artistic Circle of Barcelona (1941), and later became a disciple of Pere Pruna, working for two years in his studio (1944-46). Pruna taught him mural and engraving techniques, and he also learned restoration in Miracle's studio. In 1945 he exhibited his work in Barcelona for the first time, and the following year he began working in the studio of Carlos Pellicer, with whom he worked for fourteen years. He completed his studies with trips to London, Belgium, Paris and the Isle of Man, among other places. In the sixties he returned to his native town, where he again became interested in the landscapes of the Vallés and the Mediterranean, although he did not abandon his extensive travels through Europe, Africa, the Ivory Coast, Morocco and Brazil. An outstanding collector, in 1996 he donated his art collection to the City Council of Mollet, which created the Joan Abelló Municipal Museum three years later. Attached to the museum is the artist's birthplace, which since 2002 has housed a restoration workshop and center for artistic studies. Abelló began his career developing a certain impressionist tendency, to start in the late forties in post-impressionism without losing links with his initial language, always with an explosion of colors applied with violent brushstrokes. Years later his style will evolve, practicing a more material painting under the influence of informalism, and accentuating his expressionism without ever leaving figuration. From 1940, the year in which he held his first exhibition in his hometown, even before moving to Barcelona to study, Abelló held exhibitions in Spain, London, Paris, New York and Moscow. In 2002 he was appointed member of the Royal Academy of Fine Arts of Sant Jordi. He is represented in the Museum that bears his name, as well as in the MACBA in Barcelona, the Courtauld Collection in London, the Ashmolean Museum in Oxford, the Vatican Museum, the Poldersmuseum in Belgium and the Francesc Galí Legacy.

Estim. 900 - 1 000 EUR

Lot 66 - JOAN ABELLÓ PRAT (Mollet del Vallés, Barcelona, 1922 - Barcelona, 2008). "A las puertas del establo", 1963. Oil on canvas. Signed and dated in the upper left corner. Signed, dated and titled on the back. Measurements: 54 x 64,5 cm; 75 x 85 cm (frame). Painter and engraver, Joan Abelló begins his formation in a self-taught way, having in his first paintings a great influence the works that Joaquín Mir realized in Mollet. He then studied at the Baixas Academy and at the Royal Artistic Circle of Barcelona (1941), and later became a disciple of Pere Pruna, working for two years in his studio (1944-46). Pruna taught him mural and engraving techniques, and he also learned restoration in Miracle's studio. In 1945 he exhibited his work in Barcelona for the first time, and the following year he began working in the studio of Carlos Pellicer, with whom he worked for fourteen years. He completed his studies with trips to London, Belgium, Paris and the Isle of Man, among other places. In the sixties he returned to his native town, where he again became interested in the landscapes of the Vallés and the Mediterranean, although he did not abandon his extensive travels through Europe, Africa, the Ivory Coast, Morocco and Brazil. An outstanding collector, in 1996 he donated his art collection to the City Council of Mollet, which created the Joan Abelló Municipal Museum three years later. Attached to the museum is the artist's birthplace, which since 2002 has housed a restoration workshop and center for artistic studies. Abelló began his career developing a certain impressionist tendency, to start in the late forties in post-impressionism without losing links with his initial language, always with an explosion of colors applied with violent brushstrokes. Years later his style will evolve, practicing a more material painting under the influence of informalism, and accentuating his expressionism without ever leaving figuration. From 1940, the year in which he held his first exhibition in his hometown, even before moving to Barcelona to study, Abelló held exhibitions in Spain, London, Paris, New York and Moscow. In 2002 he was appointed member of the Royal Academy of Fine Arts of Sant Jordi. He is represented in the Museum that bears his name, as well as in the MACBA in Barcelona, the Courtauld Collection in London, the Ashmolean Museum in Oxford, the Vatican Museum, the Poldersmuseum in Belgium and the Francesc Galí Legacy.

Estim. 1 100 - 1 200 EUR

Lot 67 - Catalan school, ca. 1900. Colla del Safrà. "The washhouse". Oil on canvas. Signed and dated in the lower margin. Measurements: 97 x 96 cm. A woman wrapped in mantila, seated on the stone steps, chooses the clothes that she prepares to wash. A second washerwoman turns her back to us while she soaks the clothes in a large fountain basin. This one has a large laundry room, which occupies the center of a square with fruit trees and jasmine. At the top, behind a baluster, whitewashed houses in different colors are lined up. The whole is impregnated with the warm lights of the sunset. This painting belongs to the Catalan school of the Colla del Safrà. This was the name given to a group of Barcelona artists made up of Isidre Nonell, Joaquín Mir, Ricard Canals, Ramón Pichot, Juli Vallmitjana and Adrià Gual. It was founded in 1893 by Nonell and continued until 1896. The name of the group would be translated as the Saffron group or gang in reference to the yellowish color -azafranado- of many of his paintings. The group did not have a defined artistic program nor a rigid structure. It was rather a group of young people with some shared ideas, such as a certain anarchic attitude and -in the field of art- an interest in pleinair painting (painting in the open air), a subject matter that often revolved around marginalized people and a social conscience that brought them closer to the generation of '98.

Estim. 2 000 - 2 500 EUR

Lot 68 - CARME CORTÈS LLADÓ (Santa Coloma de Gramanet, 1892 - Mexico City, 1979). "Still life with doll", ca.1930. Oil on canvas. Signed in the upper right corner. Measurements: 50 x 61 cm; 61 x 74 cm (frame). The painter Carme Cortès delved into the feminine universe treating it from different genres: portrait, still life, interior scenes... This "Still Life with Doll" is part of this interest in capturing the feminine world, to which she confers the melancholic tone that permeates the toys of the past. This is evidenced by the collection of paintings by the author kept in the MNAC (Museu d'Art Nacional de Catalunya, Barcelona). Carme Cortès i Lladó was a Spanish impressionist painter. At the end of the civil war she went into exile in France and in 1941 she arrived in Mexico, where she created the School of Plastic Arts at the Universidad Autónoma de Nuevo León. Daughter of Antonia Lladó Cullell and Antoni Cortés Valls, she was married to the republican politician Jaume Aiguadé Miró, deputy of the Cortes of the Republic and mayor of Barcelona, and was the mother of the painter Carme Aguadé i Cortés. She began her musical studies with the maestros Enrique Granados and Felip Pedrell and gave her first concert in 1910. She later studied at the Escuela Superior de Bellas Artes directed by the painter Francesc d'Assís Galí and devoted herself fully to painting.

Estim. 2 500 - 3 000 EUR

Lot 69 - JOSEP MOMPOU I DENCAUSSE (Barcelona, 1888 - Vic, Barcelona, 1968). "Tossa de Mar", 1945. Oil on canvas. Signed and dated in the lower right corner. With label of Ramoneda and Barrachina. Measurements: 50 x 61 cm; 61 x 74 cm (frame). Summer people, bathing suits and umbrellas sparkle in chromatic myriads on the sand. With quick and intuitive brushstroke, Josep Mompou composes a vibrant summer symphony. The hill is outlined under a limpid sky. On it, the castle wall meanders through the bushes. A painter trained in the academy of Joaquín Torres Canosa, he was a member of the Círculo de Sant Lluc. In 1907 he participated in the International Exhibition of Barcelona, and the following year he organized a solo exhibition at the Dalmau Galleries. Between 1910 and 1911 he collaborated with the magazine "Papitu", and in 1917 he participated in the exhibition of Francophile artists at the Dalmau Galleries, where he later held two important individual exhibitions, in 1920 and 1925. Between 1926 and 1934 he lived in Paris and organized several individual exhibitions there, as well as successive exhibitions at the Sala Parés in Barcelona, and in Madrid in 1946. He also participated in numerous group exhibitions, both in Europe and America, as well as in various salons in Paris and in the Latin American Biennials. In 2009 the Caixa de Cataluña Foundation dedicated a large anthology to him at La Pedrera. He was a member of the Sant Jordi Academy, and is represented at the Reina Sofia National Center, the Museums of Modern Art in Havana, Paris and Barcelona, the Municipal Museum of Tossa de Mar, the Museum of Toledo (Ohio, United States) and the Library of Catalonia, among others.

Estim. 3 000 - 4 000 EUR

Lot 70 - ELISEO MEIFRÈN ROIG (Barcelona, 1859 - 1940). "Landscape. Oil on canvas. Signed in the lower left corner. Measurements: 70 x 36 cm; 84 x 50 cm (frame). Eliseo Meifrèn offers us a clearly impressionist work, with a purely chromatic and luminous treatment of the landscape, which leaves aside the meticulous description of the natural model to capture an impression of nature, a purely visual and totally plastic image, in which the loose, impastoed and precise brushstroke configures forms, spaces and volumes based on juxtaposing colors. The forms are blurred and become pure expressive stain; the light, worked and thought, acquires a renewed prominence, and nature takes on a new atmospheric dimension, which goes beyond the pure reproduction of reality. A 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. 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. 2 000 - 2 500 EUR

Lot 71 - JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940). "Environment of a farmhouse", Mollet, c.1914. Oil on canvas. Signed in the lower right corner. Attached certificate of D. Francesc Miralles. Measurements: 40 x 65 cm; 50 x 75 cm (frame). With a daring and intuitive brushstroke, Mir captures, with a vibrant Mediterranean palette, the hustle and bustle of some peasants in front of a large house surrounded by haystacks. Under the midday light, geese peck in a large open corral. The figures are integrated into the exultant nature and the blue sky reverberates on the amber straw. Through a purely personal language, Mir synthesizes the basic elements to make the scene recognizable, of particular compositional structure, while making it vibrate with his imagination. In this work, Mir demonstrates an absolute technical and atmospheric mastery, which he puts at the service of an almost animistic conception of the natural element. Joaquín Mir studied at the Escuela de Bellas Artes de San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's hometown. In 1893 he formed the "Colla del Safrà" together with artists such as Isidro Nonell, Ricard Canals and Ramón Pichot, and in the last years of the century he was associated with the artistic environment of "Els Quatre Gats". He completed his training in 1895, when he spent a season in Madrid copying works by Velázquez. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital in order to compete for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, on a trip that would be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, specifically by the landscape of Sa Calobra, which was an inexhaustible source of inspiration for him. In 1901 he exhibited the fruit of this first Mallorcan period in Barcelona's Sala Parés, and again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Already consolidated as an outstanding figure of the Catalan panorama, he acquires the definitive recognition at national level in 1917, when he is awarded the National Prize of Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honor at the National Exhibition in Madrid, an award he had been pursuing since 1922. Although he was mainly a native painter, he had solo and group exhibitions in Washington, Paris, Pittsburg, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the most outstanding representative of Spanish post-impressionist landscape painting. His work is preserved in the National Art Museum of Catalonia, the Prado Museum, the Thyssen-Bornemisza Museum and the Reina Sofia Museum in Madrid, among many others.

Estim. 8 000 - 10 000 EUR

Lot 72 - IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916). "Young man in profile. Oil on canvas. Signed in the lower left corner. Measurements: 66 x 51 cm; 97 x 71 cm (frame). Born into a humble family, Pinazo was forced from a very young age to contribute with different occupations to the support of his home. He had only completed the eighth grade at school when his mother died of cholera, so he soon had to be employed in various trades, including silversmith, tile decorator, baker, gilder and painter of fans. After the death of his father he went to live with his grandfather, and in 1864 he entered the San Carlos Academy of Fine Arts, where he was a disciple of José Fernández Olmos. During this period he earned his living as a milliner. He began his artistic training at the age of twenty-one, achieving his first success three years later, in Barcelona. In 1871 he entered the National Exhibition of Fine Arts for the first time. He was in Rome twice, the first time thanks to the sale of a painting, in 1873, and the second time with a scholarship, between 1876 and 1881. There he began his great productions of history, far from the conventions of the genre. In his first period he developed an academicist style, but from 1874 he began a more intimate and impressionist pictorial line. When he returned to Valencia he abandoned historical themes, and instead began to paint family subjects, nudes and scenes of everyday life. Thus, he is now considered a precursor, both in themes and style, of Joaquín Sorolla and Francisco Domingo. In 1884 Pinazo left Valencia temporarily due to a cholera epidemic, settling in the house that the banker José Jaumandreu owned in Bétera. From his return that same year until 1886, he taught at the School of Fine Arts in Valencia. During these years he received numerous commissions from the Valencian aristocracy, counting among his clients prominent figures such as the Marquise of Benicarló. Pinazo showed his works at the National Exhibitions of Fine Arts in Madrid, winning the silver medal in 1881 and 1885, and the gold medal in 1897 and 1899. In 1896 he was named academician of San Carlos, and in 1906 he will also be named academician of San Fernando, in Madrid. In 1900 he was involved in the decoration of the staircase of the palace of Don José Ayora, together with Antonio Fillol, Peris Brell, Ricardo Verde and Luis Beüt. For these years he received a royal medal and, in 1912, the city of Valencia dedicated a street to him. At his death, in 1916, the commemorative acts of his life and work will follow. Pinazo is currently represented in the Prado Museum, the MACBA in Barcelona, the Museum and Circle of Fine Arts in Valencia, his House-Museum in Godella and the Valencian Provincial Council, as well as in several important private collections.

Estim. 2 000 - 2 200 EUR

Lot 73 - JOAN CARDONA I LLADÓS (Barcelona, 1877 - 1957). "Maternity". Oil on canvas. Signed on the back. Measurements: 81 x 65 cm; 99 x 82,5 cm (frame). Formed in the School of Fine Arts of the Lonja and in the Baixeras Academy in Barcelona, he extended his studies in Paris, city where he will settle for several years. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. Painter and draftsman, he developed an important activity in the field of illustration, collaborating with Spanish magazines such as "El Gato Negro" and "Hispania", and in the French magazines "Le Rire" and "Simplicissimus". His collaboration with "Jugend", the flagship magazine of Viennese modernism, the Jugendstil, stands out. In his Parisian period Cardona achieved international fame thanks to his pen drawings, characterized by the sharpness of the stroke and strong expressive values. On the contrary, in his painting he subordinates line to color, with warm tones in his early years and cold ranges in his maturity. His paintings, of great expressive force and dense impasto, define the protagonism of the woman, who is outlined on vibrant, almost abstract backgrounds, in a style that brings him close to Anglada Camarasa. In 1897 he was awarded a prize in the competition organized by the Mariana Academy of Lleida. He exhibited in Paris in the Salons d'Automne and of the Societé Nationale, obtaining in both the title of "societaire". He participated in the International Exhibitions of Fine Arts of Barcelona in 1907 and 1929. He is represented in the Museum of Luxembourg, in Paris.

Estim. 1 600 - 1 700 EUR

Lot 74 - CASIMIRO MARTÍNEZ TARRASSÓ (Barcelona, 1898 - 1980). "Mountain landscape". Oil on tablex. Signed in the lower right corner. Measurements: 16 x 20 cm; 43 x 48 cm (frame). In this tablex Tarrassó captures a landscape built in depth with his personal language based on color spots of Fauvist heritage. The vivid chromatism responds to a careful and thoughtful study, based on the juxtaposition of mainly cold tones, some brighter and others darker to reinforce the three-dimensional construction of space. Known simply as Tarrassó, he trained at the Escuela de La Lonja in Barcelona. He completed his studies in Paris, where he had first-hand knowledge of the Fauvist works that were shaking the Parisian artistic scene at the time. He was above all a brilliant landscape painter, with a style characterized by its violent and vivid colors, very luminous. He followed in the footsteps of the great Catalan landscape painters, especially Joaquín Mir, although with a clearly differentiated personality due in part to the impact that Fauvism had on his artistic thinking. He cultivated the still life and the Catalan and Majorcan landscapes. He held his first exhibition in 1928, in the Layetanas Galleries in Barcelona. Since then his exhibitions in Barcelona, Madrid, Palma de Mallorca and Bilbao followed one after the other. In 1935 he visited Mallorca for the first time, and from 1940 he had a studio there, specifically in Palma, where he lived for long periods and developed most of his artistic production. After the Civil War, during the forties, Tarrassó took part in several National Exhibitions of Fine Arts, in their editions of 1942, 1943 and 1950, and held many personal exhibitions in Barcelona, in galleries such as Augusta, Layetanas, Ars, etc., among them the one he held of Pyrenean landscapes in 1948, and the one of large canvases of Mallorcan landscapes that he presented in 1949. Although the landscape was always the center of his production, Tarrassó also made works such as the mural decoration of the church of Santa Maria de Badalona. In Mallorca he also carried out a singular undertaking, planting his easel in the Caves of Campanet to capture the stalactites and stalagmites of its stony cavities, developing a series of works that he presented at the Galerías Costa de Palma in October 1948. Throughout his career Tarrassó was awarded the Pollença Prize at the 1st International Painting Competition in 1962; the Santiago Rusiñol Prize in 1972; and the medals obtained in various editions of the Autumn Salons of Palma de Mallorca: first prize in 1967 and 1973, and honorary prize in 1970. Tarrassó's work is characterized by the great personality of his coloring. His obsession for chromatism determines a deeply sensorial, vitalist and intuitive painting. He is represented in various national and international private collections, as well as in the Museum and Artistic Fund of Porreras (Mallorca) and the Museum of Modern and Contemporary Art of Palma.

Estim. 550 - 600 EUR

Lot 75 - JOAN CARDONA I LLADÓS (Barcelona, 1877 - 1957). "Maternity". Oil on canvas. Signed in the lower left corner and on the back. Measurements: 71 x 60 cm; 96 x 86 cm (frame). Formed in the School of Fine Arts of the Lonja and in the Baixeras Academy in Barcelona, he extended his studies in Paris, city where he will settle for several years. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. Painter and draftsman, he developed an important activity in the field of illustration, collaborating with Spanish magazines such as "El Gato Negro" and "Hispania", and in the French magazines "Le Rire" and "Simplicissimus". His collaboration with "Jugend", the flagship magazine of Viennese modernism, the Jugendstil, stands out. In his Parisian period Cardona achieved international fame thanks to his pen drawings, characterized by the sharpness of the stroke and strong expressive values. On the contrary, in his painting he subordinates line to color, with warm tones in his early years and cold ranges in his maturity. His paintings, of great expressive force and dense impasto, define the protagonism of the woman, who is outlined on vibrant, almost abstract backgrounds, in a style that brings him close to Anglada Camarasa. In 1897 he was awarded a prize in the competition organized by the Mariana Academy of Lleida. He exhibited in Paris in the Salons d'Automne and of the Societé Nationale, obtaining in both the title of "societaire". He participated in the International Exhibitions of Fine Arts of Barcelona in 1907 and 1929. He is represented in the Museum of Luxembourg, in Paris.

Estim. 1 200 - 1 500 EUR

Lot 76 - JOAN MESTRE I BOSCH (Palma de Mallorca, 1826 - 1893). "Santa Cecilia", Barcelona, 1847. Oil on canvas. Cracked. With restoration on the back and inscription. It presents faults in the frame and in the painting. Measurements: 87 x 68 cm; 108 x 91 cm (frame). Joan Mestre i Bosch was formed with Bartolomé Sureda in the School of Fine Arts of Palma de Mallorca. He then traveled to Barcelona to complete his training there, at the city's Academy of Fine Arts, and finally spent some time in Madrid, where he devoted himself to copying works by the great masters at the Prado Museum. On his return to Mallorca, he held the chair of Anatomy and Landscape Drawing at the Sociedad Económica Mallorquina de Amigos del País (Mallorcan Economic Society of Friends of the Country) free of charge. Throughout his life he showed his work in various official exhibitions, being awarded several times, and also painted religious works for several churches in the Balearic Islands. He was also a correspondent of the Academy of San Fernando in Madrid and honorary chamber painter. He was especially known as a portraitist and painter of religious subjects, and developed a style with an academic base, romantic roots and a clear commitment to naturalism, although of an eclectic realism. He was also an important pedagogue, and the mark of his style can be seen in his disciples such as Joan Bauzà, Antoni Ribas and Antoni Fuster. Joan Mestre i Bosch is currently represented in the collection of the Consell de Mallorca, the Sa Nostra, the Yannick and Ben Jakober Foundation and the Museum of Mallorca, among other public and private collections.

Estim. 2 500 - 2 800 EUR

Lot 77 - JOAQUÍN MICHAVILA ASENSI (Alcora, Castellón, 1926 - Albalat de Taronchers, Valencia, 2016). "LLAC". Oil on canvas. Signed in the lower left corner. Measurements: 73 x 95.50 cm; 93 x 112 cm (frame). One of the main representatives of Valencian abstraction, Joaquín Michavila was trained at the Escuela Superior de Bellas Artes de San Carlos de Valencia, of whose academy he was a member since 1975 and president between 2003 and 2007. Professor of Fine Arts, he was awarded the Distinction for Cultural Merit of the Generalitat Valenciana (2001) and the Plastic Arts Award of the Generalitat Valenciana (2007). Michavila moved to Valencia in 1932, where he lived until 1966. An outstanding participant of the Valencian avant-garde, Michavila was part, since its foundation, of the groups Los Siete, Parpalló and Artes del Arte. He began his career in 1952, and for some years he searched for his own language, and from 1960 onwards he developed a language framed within constructivism, which progressively evolved in an increasingly geometric sense. A decade later he will focus on evoking the landscapes of his youth through abstraction, and around 1990 he begins to approach tenebrism, with works marked by the contrast of light and shadow. At the beginning of the 21st century, Michavila will begin a new stage with a production of acrylics generically titled "Counterpoint", a musical term from which spring plastic interpretations of master composers of the avant-garde such as Schönberg, Luis de Pablo or Paco Llàcer. This last series speaks of a certain existential drama derived from the previous pictorial tenebrism, with black backgrounds on which sound becomes pure form, sound vibration as well as light, playing to evoke synesthesia. Throughout his career, Michavila held exhibitions throughout Spain, as well as in Rome, Florence, Basel, Denver, São Paulo, New York and Vienna. He was distinguished with numerous awards, including the Alfonso Roig Award from the Diputación de Valencia in 1996 and the Gold Medal of the City of Valencia in 1997, as well as being named Alcorí Distinguit in 1998. Also, in February 2016 the University of Valencia dedicated a monographic exhibition to him as a tribute, bringing together a selection of thirty representative works from throughout his career.

Estim. 4 000 - 4 200 EUR

Lot 78 - CARLOS RUANO LLOPIS (Alicante, 1879 - Mexico City, 1950) Untitled. Oil on canvas. Signed in the lower left corner. Measurements: 42,5 x 70,5 cm; 66 x 94 cm (frame). Dramatic and dynamic scene, clearly influenced by the engravings of bullfighting theme of the own Goya, captured with a loose and fast brushstroke, very juicy, that ignores the drawing and constructs the forms, the volumes and the spaces through the chromatic work. It also highlights the lighting, very effective and contrasted, which focuses our attention on the characters in the foreground, leaving the rest wrapped in a nuanced twilight that reinforces the dramatic character of the scene. Painter and poster artist trained at the School of Fine Arts of San Carlos, he won the gold medal at the Regional Exhibition of Valencia in 1909. In 1912 he made the first of his famous bullfighting posters. He exhibited in Valencia, Madrid, Bilbao, Marseilles and Paris, and collaborated with "La Esfera", "Mundo Gráfico", "El Mercantil Valenciano", etc. In 1934 he settled permanently in Mexico and promoted his international career, with personal exhibitions in Mexico (1938, 1949), Caracas (1949), New York (1945) and Philadelphia. He is considered today the best bullfighting poster artist, a genre in which he established a prototype that has endured to the present day.

Estim. 1 700 - 1 900 EUR

Lot 79 - RICARDO NAVARRETE Y FOS (Serpis, Alicante, 1834 - Madrid, 1909). "View of Venice. Watercolor on paper. Signed and located in Venice. Measurements: 46 x 25 cm; 82,5 x 59,5 cm (frame). It is a painting framed in the tradition of Venetian vedutismo, whose history begins in the eighteenth century, although it has antecedents dating back to the second half of the fifteenth century. Proud of its power, the city then considered queen of the Mediterranean due to its commercial contacts reinforced it through a true visual propaganda. With the precise and opportunely idealized representation of the scene of so many historical and legendary episodes, a myth destined to last in time was consolidated, even if in the 18th century only a few shaky foundations remained to sustain it. A painter from Alicante in the second half of the 19th century, Ricardo Navarrete, brother of the engraver Federico Navarrete, tackled a wide range of subjects in his work, standing out especially in portraiture, history and customs painting. He began his training at the Academy of Fine Arts of San Carlos, in Valencia, and then went on to the Academy of San Fernando in Madrid. An outstanding student, he obtained pensions for Rome and Venice, and during his stay in Italy he began to send works to the National Exhibitions of Fine Arts. Thus, in 1864 he obtained an honorable mention, and three years later his work "Capuchinos en el coro" (Capuchins in the choir) won him a third medal. Navarrete settled in Venice thanks to the patronage of José María Olmos, and there he dedicated himself to painting themes of the history of the city and small Venetian genre paintings, much admired in his time. He continued to participate in official competitions, and in 1873 he was awarded a gold medal at the International Exhibition in Vienna. That same year he painted a remarkable portrait of the novelist Enrique Pérez Escrich, which was presented as a posthumous tribute at the National Exhibition of Fine Arts in 1897, the year of the writer's death. In 1884 Navarrete returned to Spain and took up a teaching post at the School of Fine Arts in Seville, from where he would later move on to Barcelona and Madrid. He was also a member of the Academy of Fine Arts of Santa Isabel de Hungría in Seville. Works by Ricardo Navarrete are currently conserved in the Prado Museum, the Municipal Museum of Játiva, the Museum of Almería, the Provincial Council of Zamora, the City Hall of Irún, the Civil Government of Vitoria and other public and private collections.

Estim. 1 500 - 1 800 EUR

Lot 80 - RICARDO NAVARRETE Y FOS (Serpis, Alicante, 1834 - Madrid, 1909). "View of Venice. Watercolor on paper. Signed and located in Venice. Measurements: 46 x 25 cm; 82,5 x 59,5 cm (frame). It is a painting framed in the tradition of Venetian vedutismo, whose history begins in the eighteenth century, although it has antecedents dating back to the second half of the fifteenth century. Proud of its power, the city then considered queen of the Mediterranean due to its commercial contacts reinforced it through a true visual propaganda. With the precise and opportunely idealized representation of the scene of so many historical and legendary episodes, a myth destined to last in time was consolidated, even if in the 18th century only a few shaky foundations remained to sustain it. A painter from Alicante in the second half of the 19th century, Ricardo Navarrete, brother of the engraver Federico Navarrete, tackled a wide range of subjects in his work, standing out especially in portraiture, history and customs painting. He began his training at the Academy of Fine Arts of San Carlos, in Valencia, and then went on to the Academy of San Fernando in Madrid. An outstanding student, he obtained pensions for Rome and Venice, and during his stay in Italy he began to send works to the National Exhibitions of Fine Arts. Thus, in 1864 he obtained an honorable mention, and three years later his work "Capuchinos en el coro" (Capuchins in the choir) won him a third medal. Navarrete settled in Venice thanks to the patronage of José María Olmos, and there he dedicated himself to painting themes of the history of the city and small Venetian genre paintings, much admired in his time. He continued to participate in official competitions, and in 1873 he was awarded a gold medal at the International Exhibition in Vienna. That same year he painted a remarkable portrait of the novelist Enrique Pérez Escrich, which was presented as a posthumous tribute at the National Exhibition of Fine Arts in 1897, the year of the writer's death. In 1884 Navarrete returned to Spain and took up a teaching post at the School of Fine Arts in Seville, from where he would later move on to Barcelona and Madrid. He was also a member of the Academy of Fine Arts of Santa Isabel de Hungría in Seville. Works by Ricardo Navarrete are currently conserved in the Prado Museum, the Municipal Museum of Játiva, the Museum of Almería, the Provincial Council of Zamora, the City Hall of Irún, the Civil Government of Vitoria and other public and private collections.

Estim. 1 400 - 1 600 EUR

Lot 81 - RICARDO NAVARRETE Y FOS (Serpis, Alicante, 1834 - Madrid, 1909) "Marina". Watercolor on paper. It has slight rust stains. Signed in the lower left corner. Measurements: 25 x 44 cm; 33.5 x 53 cm (frame). Painter from Alicante of the second half of the XIX century, brother of the engraver Federico Navarrete, Ricardo approached a wide range of subjects in his work, standing out specially in the portrait, the painting of history and the one of customs. He began his training at the Academy of Fine Arts of San Carlos, in Valencia, and then went on to the Academy of San Fernando in Madrid. An outstanding student, he obtained pensions for Rome and Venice, and during his stay in Italy he began to send works to the National Exhibitions of Fine Arts. Thus, in 1864 he obtained an honorable mention, and three years later his work "Capuchinos en el coro" (Capuchins in the choir) won him a third medal. Navarrete settled in Venice thanks to the patronage of José María Olmos, and there he dedicated himself to painting themes of the history of the city and small Venetian genre paintings, much admired in his time. He continued to participate in official competitions, and in 1873 he was awarded a gold medal at the International Exhibition in Vienna. That same year he painted a remarkable portrait of the novelist Enrique Pérez Escrich, which was presented as a posthumous tribute at the National Exhibition of Fine Arts in 1897, the year of the writer's death. In 1884 Navarrete returned to Spain and took up a teaching post at the School of Fine Arts in Seville, from where he would later move on to Barcelona and Madrid. He was also a member of the Academy of Fine Arts of Santa Isabel de Hungría in Seville. Currently, works by Ricardo Navarrete are kept in the Prado Museum, the Municipal Museum of Játiva, the Museum of Almería, the Provincial Council of Zamora, the City Council of Irún, the Civil Government of Vitoria and other public and private collections. Slight rust stains.

Estim. 1 200 - 1 500 EUR

Lot 82 - JOAQUIN AGRASOT (Orihuela, Alicante, 1837 - Valencia, 1919). "Orientalist portrait". Watercolor on paper. Signed in the lower right corner. Measurements: 37.5 x 29 cm; 63 x 54 cm (frame). 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 de 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. 900 - 1 000 EUR

Lot 83 - RICARDO NAVARRETE Y FOS (Serpis, Alicante, 1834 - Madrid, 1909) "Marina". Watercolor on paper. It has slight rust stains. Signed in the lower right corner. Measurements: 25 x 44 cm; 33.5 x 53 cm (frame). Painter from Alicante of the second half of the XIX century, brother of the engraver Federico Navarrete, Ricardo approached a wide range of subjects in his work, standing out specially in the portrait, the painting of history and the one of customs. He began his training at the Academy of Fine Arts of San Carlos, in Valencia, and then went on to the Academy of San Fernando in Madrid. An outstanding student, he obtained pensions for Rome and Venice, and during his stay in Italy he began to send works to the National Exhibitions of Fine Arts. Thus, in 1864 he obtained an honorable mention, and three years later his work "Capuchinos en el coro" (Capuchins in the choir) won him a third medal. Navarrete settled in Venice thanks to the patronage of José María Olmos, and there he dedicated himself to painting themes of the history of the city and small Venetian genre paintings, much admired in his time. He continued to participate in official competitions, and in 1873 he was awarded a gold medal at the International Exhibition in Vienna. That same year he painted a remarkable portrait of the novelist Enrique Pérez Escrich, which was presented as a posthumous tribute at the National Exhibition of Fine Arts in 1897, the year of the writer's death. In 1884 Navarrete returned to Spain and took up a teaching post at the School of Fine Arts in Seville, from where he would later move on to Barcelona and Madrid. He was also a member of the Academy of Fine Arts of Santa Isabel de Hungría in Seville. Currently, works by Ricardo Navarrete are kept in the Prado Museum, the Municipal Museum of Játiva, the Museum of Almería, the Provincial Council of Zamora, the City Council of Irún, the Civil Government of Vitoria and other public and private collections. Slight rust stains.

Estim. 1 200 - 1 500 EUR

Lot 84 - JUAN PABLO SALINAS TERUEL (Madrid, 1871 - Rome, 1946). "Orientalist scene". Watercolor on paper. Presents label on the back of the D'Arte Gallery, Italy. Signed and located (Rome) in the lower left corner. Measurements. 68 x 39 cm; 93 x 65 cm (frame). In this work realized in Rome, the author presents a scene of great crudeness when portraying a man restrained by chains. Both his turban and his clothes take us to the oriental world. A trend that was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter, but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Juan Pablo Salinas began his artistic training at the Academy of Fine Arts of San Fernando, in Madrid, although his time in the classrooms was probably ephemeral. He began to make himself known in 1885, the year in which he participated in the exhibition organized by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third class medal in both. Around 1886 he moved to Rome to further his studies thanks to a scholarship granted by the Diputación Provincial de Zaragoza. There he attended the International Circle of Fine Arts, as well as the evening classes of the Chigi Academy. He also joined the Spanish artistic colony residing in the city, and worked with his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes of notable Tuscan influence, with works such as "Romeo and Juliet" or "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until he met, on a trip to Paris, the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great sales success in France, Italy, Central Europe, Russia and America. During these years he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which characters dressed in the fashion of the time appear in the context of luxurious interiors, meticulously detailed through a precious technique, which is recreated in the colorful description of clothes and lace, but, above all, in the masterful treatment of female flesh tones, deliberately sensual. Also at this stage Salinas made several series for the decoration of large salons. In addition to these themes, he also painted orientalist scenes and church interiors. In the last stage of his career there is a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.

Estim. 3 500 - 4 000 EUR

Lot 85 - VICENTE POVEDA Y JUAN (Alicante 1857 - Rome, 1935). "Male portrait". Watercolor on paper. Signed in the lower right corner and located in Rome. Measurements: 31 x 22, 5 cm; 46 x 37 cm (frame). Scene of interior where a man is portrayed reading pleasantly. His posture, on a chair, is relaxed in excess in such a way that it seems that the spectator enters in a furtive way in this sumptuous interior. This genre of paintings, called "de casacones", was one of the most demanded by the public during the 19th century. They were genre scenes set in the seventeenth and eighteenth centuries, and their name comes from the jackets worn by the male protagonists. Vicente Poveda began his training in his hometown. Although he later received a scholarship to study at the Academy of Fine Arts of San Fernando in Madrid. He later moved to Rome to continue his academic training. It was there where he began to form part of the circle of artists such as Vicente March, Pedro Serrano, Gabriel Puig Roda and Manuel Muñoz. From that moment on he established his studio in Rome, where he developed his entire career.

Estim. 1 500 - 1 800 EUR

Lot 86 - RICARDO NAVARRETE Y FOS (Serpis, Alicante, 1834 - Madrid, 1909) "Marina". Watercolor on paper. Signed in the lower left area. Measurements: 25 x 44 cm; 33,5 x 53 cm (frame). Painter from Alicante of the second half of the XIX century, brother of the engraver Federico Navarrete, Ricardo approached a wide range of subjects in his work, standing out specially in the portrait, the painting of history and the one of customs. He began his training at the Academy of Fine Arts of San Carlos, in Valencia, and then went on to the Academy of San Fernando in Madrid. An outstanding student, he obtained pensions for Rome and Venice, and during his stay in Italy he began to send works to the National Exhibitions of Fine Arts. Thus, in 1864 he obtained an honorable mention, and three years later his work "Capuchinos en el coro" (Capuchins in the choir) won him a third medal. Navarrete settled in Venice thanks to the patronage of José María Olmos, and there he dedicated himself to painting themes of the history of the city and small Venetian genre paintings, much admired in his time. He continued to participate in official competitions, and in 1873 he was awarded a gold medal at the International Exhibition in Vienna. That same year he painted a remarkable portrait of the novelist Enrique Pérez Escrich, which was presented as a posthumous tribute at the National Exhibition of Fine Arts in 1897, the year of the writer's death. In 1884 Navarrete returned to Spain and took up a teaching post at the School of Fine Arts in Seville, from where he would later move on to Barcelona and Madrid. He was also a member of the Academy of Fine Arts of Santa Isabel de Hungría in Seville. Currently, works by Ricardo Navarrete are kept in the Prado Museum, the Municipal Museum of Játiva, the Museum of Almería, the Provincial Council of Zamora, the City Council of Irún, the Civil Government of Vitoria and other public and private collections.

Estim. 1 200 - 1 500 EUR

Lot 87 - JOSÉ MARÍA SERT BADIA (Barcelona, 1874 - 1945). Untitled, sketch for the Salon of the Bucraneans at Kent House, London, 1913. Oil on panel. Presents xylophages in the frame. Size: 42 x 53 cm; 44 x 55 cm (frame). The work presented here is an oil on panel sketch that Sert made in 1913 as part of the decoration project for the London residence of Sir Saxton Noble, known as Kent House. The paintings were intended for the ornamentation of two adjoining rooms separated by an Ionic-style colonnade, one used as a music room and the other as a ballroom. According to the book "José María Sert: His Life and Work", by Alberto del Castillo, this work would have decorated the fireplace room (which should correspond to the music room). He states that "the decoration of the adjoining room, the fireplace room, is like a journey to a dreamland". He continues: "The panel on the right - which would correspond to the final work of the work under tender - represents a fantastic port of the Orient, evoking Parnassian poetry. A foreground with coloured brick paving, a canal full of boats in the background, this is a Venetian theme in the style of Bellini or Carpaccio, which Tiepolo still followed in his Embarkation of Cleopatra". Trained with Benito Mercadé and Pere Borrell, he was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to 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 patron 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 made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by orientalism and Goya's expressionism, with a chromaticism almost exclusively based on gold and sepia tones.

Estim. 4 000 - 5 000 EUR

Lot 88 - JOSÉ MARÍA SERT (Barcelona, 1874 - 1945). "Pueblo de libertad" and "Pueblo de comerciantes", 1932-1934. Sketch for the auditorium of the San Telmo Museum in San Sebastián. Oil on panel. The definitive panels published in "José María Sert. His life and work", Alberto del Castillo, pp. 215 and 218. Measurements: 74.5 x 53.5 cm. This canvas presents two scenes. On the one hand, "People of Freedom", which shows the Guernica Tree, symbol of the freedoms of Vasconia, which rises with its dry branches in front of the peristyle of the Casa de las Juntas. Alberto del Castillo states that "the figure of Liberty flies through the air, centring a sparkling aureole which the rays of glory furrow". At the foot of the old oak tree, a large open book symbolises the Charter of Bizkaia; on the other hand, "Pueblo de comerciantes" represents the scene dedicated to the Real Compañía Guipuzkoana de Caracas, an entity that gave the province an unusual economic boom throughout the 17th century. This work exalts the Basques as a people of merchants. Both compositions were painted for the decoration of the great hall of the Museum of the former convent of San Telmo in San Sebastián, one of the most colourful decorations of the painter's life. Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc. In 1908 he decorated the Sala dels Pasos Perdus at the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris 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 painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to 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 patron 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 made 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. 7 000 - 9 000 EUR

Lot 89 - ANTONIO REYNA MANESCAU (Coín, Málaga, 1859 - Rome, 1937). "Venice Canal". Oil on canvas. Signed in the lower right corner. Measurements: 35 x 75 cm; 48,5 x 89 cm (frame). The Venetian views of Antonio Reyna took the genre of the Vedutti to the highest degree of artisticity. In this urban landscape, we are before an outstanding exponent of his ability to conjure the "genius loci" of the place, the local flavor. On any given morning, the cobblestone promenade by the canal is crowded with passers-by, busy women, one drinking water from the fountain, another shopping at the greengrocer's, under the striped awning.... With a vivid and colorful language, with a bold impressionist brushstroke, Reyna unfolds a magnificent panoramic view that escapes towards the houses freely huddled behind the bridge. Nowadays considered one of the most important Andalusian landscape painters of the 19th century, Antonio Reyna began his training at the School of Fine Arts in Malaga, where his teachers were Joaquín Martínez de la Vega and Bernardo Ferrándiz. From a very young age he exhibited his works regularly, standing out in the local artistic environment for his colorful, attractive compositions and the ease of his brushstroke. In 1882 he obtained a pension from the Diputación de Málaga to further his studies in Italy. After his trip to Italy, Rome became Reyna's place of residence, and he stayed there to live forever. In Rome he frequented, like so many other Spaniards, Villegas, and influenced to a certain extent by the work of this painter, Reyna worked on some oriental and "casacón" themes, the latter of exquisite workmanship and refined chromatic variety. At the same time, as a member of the Spanish colony, he participated in the gatherings of the Café Greco. Although his habitual residence was in the Italian capital, the artist traveled several times to Venice, from where in 1885 he painted a view of the Grand Canal, and in 1887 he created abundant "vedute" paintings of the city. His painting, treated from a perspective of a certain picturesqueness, is focused on the realization, in small formats, of urban landscapes, repeating them on many occasions with minimal variations. Venice was at that time one of the major centers of attraction for Spaniards thanks to the influence of the master Fortuny and the weight of the Venetian production of Villegas, adding also the effect of the summer stays of Martin Rico, whose precious landscapes were transmitted to Reyna. In 1887, a missing canvas of large proportions, entitled "Floralia", gave him a third class medal at the National Exhibition of Fine Arts, being considered at the time as the painter's best painting. In 1910, on the occasion of his mother's death, Reyna spent some time in his hometown. There he was inspired to create another of his most celebrated paintings, the canvas "Rancho Andaluz", which he showed at the International Exhibition of Fine Arts in Rome the following year. Some years before, in 1895, the queen regent Maria Cristina had granted him the cross of knight of the order of Carlos III, associating the fact to the realization of some over doors that later passed to the Ateneo of Madrid, although apparently they are not now in that whereabouts. Reyna also exported his work to London, especially his Venetian views. He also held regular exhibitions in Rome, showing among other works two portraits of Pope Benedict XV, which demonstrate his expertise in this genre. In his painting, certainly a novelty for the time, the painter showed at all times his skill in drawing, as well as an innate ability for composition, marked by the boldness of his brushstroke and a great chromatic richness.

Estim. 18 000 - 20 000 EUR

Lot 90 - JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937). "Waiting for Fishing", 1921. Oil on canvas. Signed and dated in the lower left corner. It has a small patch in the central right area. Measurements: 130 x 104 cm; 148 x 120 cm (frame). José Mongrell studied at the School of Fine Arts of San Carlos in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others. The mastery of Mongrell's luminism, a key painter for understanding Valencian Impressionism, is demonstrated in the present canvas. In it the artist gives us one of his favourite themes, the costumbrista, which unites a coastal landscape with everyday scenes of daily life, featuring two popular women captured with a dignity that puts them on a par with the ancient classical heroes. This is perfectly visible in the present work, in which our gaze is irremediably caught by the magnetic expression of what appears to be a mother and daughter depicted in Mongrell's humble style. The mother, dressed in the folk costume of Valencian fishermen, gazes into the distance, waiting for the catch, while the daughter is inside the boat, waiting for her mother's orders. The figures appear in the foreground, occupying most of the pictorial surface, standing out against a magnificently worked beach landscape, the tones of which seem to echo the colours of the figures' clothes.

Estim. 24 000 - 26 000 EUR

Lot 91 - JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923). "Paisaje de sierra", c. 1887-1889. Oil on panel. We thank Blanca Pons Sorolla for her help in the expertise of the work. Soon the work will be included in the catalog raisonné of the artist (No. BPS-3860). Measurements: 14 x 11 cm; 47 x 43 cm (frame). This painting belongs to a seminal period of Sorolla's production, specifically to the period in which he resided in Rome, a key period for his formation. We can appreciate in this masterfully resolved intimate landscape where the artist is already defining a loose and vibrant brushstroke that will lead him to the full and fair recognition of his unmistakable technique. The expressiveness is maximum thanks to the skillful touches combining quick and broken strokes with a palette of ochers and browns in wise contrast with the light flesh tones and draped whites. Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes given by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity will remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain. Trying to capture the essence of the lands and people of his country, Sorolla traveled throughout Spain between 1911 and 1919, while continuing to hold exhibitions. Incapacitated by an attack of hemiplegia in 1921, Sorolla died two years later, without seeing his great "Vision of Spain", which would not be installed until 1926. He is currently represented in the Prado Museum and the one that bears his name in Madrid, the Metropolitan Museum in New York, the Orsay Museum in Paris, the J. Paul Getty Museum in Los Angeles, the Fine Arts Museums of Bilbao and Valencia, the National Portrait Gallery in London and many others. We would like to thank Blanca Pons Sorolla for her help in the expert analysis of the work. The work will soon be included in the catalog raisonné of the artist (No. BPS-3860).

Estim. 20 000 - 25 000 EUR

Lot 92 - French school; second half of the 19th century. "Still lifes". Oil on canvas. They present restorations. Measurements: 70 x 95 cm (x2). Inspired by the traditional genre of still lifes, the present images gather in a classical composition based on a pyramidal structure with most of the elements in the foreground and completely visible to the viewer. The works stand out for the abundance of food that ranges from figs, pears, a pumpkin, chicken, eggs in one of them, while the other painting shows bread, meat and a can of preserves among other things. In one of the cases, the artist presents an illuminated scene with a neutral background that enhances the volume of the food, which has been captured in a careful way, paying special attention to the qualities of each one of them, as can be seen in the treatment of the porcelain of the soup tureen or in the shine of the metal cutlery. A resource to be taken into account is the way in which the tablecloth is arranged, leaving part of the table uncovered, while the other part is covered by a delicate white tablecloth on which the shadows of the scene rest. The works that are defined by a loose brushstroke do not lose the essence of realistic painting, as already mentioned. However, it should be noted that this coexistence between both pictorial styles is typical of the nineteenth century, a time when the currents were united and overlapped each other due to the great artistic development of the French school. The still life or still life occupied the lowest rung of the hierarchy of genres in the history of art, however, it was becoming increasingly popular among buyers. In addition to the independent subject of the still life, it addressed other types of painting themes by using prominent, usually symbolic, elements and images that drew on a multitude of elements from nature apparently to reproduce a slice of life. It presents restorations.

Estim. 7 000 - 8 000 EUR

Lot 93 - PERE PRUNA OCERANS (Barcelona, 1904 - 1977). "Oneiric scene". Oil on canvas. Signed in the lower right corner. Measurements: 54 x 73 cm; 68 x 87 cm (frame). On this occasion, Pere Pruna immerses us in an enigmatic scene, starring a winged girl with two bulls. One bull tilts his head and we feel the intensity of his gaze. Another figure is silhouetted against the horizon. The scene admits several interpretations, all of them related to life and death, the telluric force materialized in the instinctive animal and the spirituality concretized in the angelic figure. 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). The latter was surrounded by controversy, because Pruna obtained it for his oil painting "El vi de Chios", for which he used as a model a photograph published in a Parisian pornographic magazine. In view of the commotion caused, Pruna renounced the prize, but the jury ratified its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, with an exhibition organized 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 Labor 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 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. 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. 7 000 - 8 000 EUR

Lot 94 - MONTSERRAT GUDIOL COROMINAS (Barcelona, 1933 - 2015). "The Rosary". Oil on board. Signed in the lower margin. Measurements: 80 x 40 cm; 96,5 x 57 cm (frame). Gudiol manages in this scene, on a grisaille effect, to outline the delicate oval of two figures whose features and stylized silhouette exude melancholy. Montserrat Gudiol began in the art world in the family studio of medieval painting restoration, and since 1950 she has dedicated herself to painting on panel 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, the Czech Republic, China, France, Japan, the 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. 3 400 - 4 000 EUR

Lot 95 - RAMÓN MARTÍN DURBAN (Zaragoza, 1904- Caracas, 1968). "Portrait of Concha Piquer. Oil on canvas. It presents damages caused by xylophages in the stretcher frame. Measurements: 212 x 151 cm; 247 x 188 cm (frame). Portrait of the folkloric Concha Piquer (Valencia, 1906 - Madrid, 1990). The work shows us a Concha standing with a great costume that takes almost the protagonism of the scene. The protagonist does not look at the spectator, but directs her gaze beyond towards a distant point, thus establishing a certain distance with respect to the spectator with a friendly tone due to her smile. According to the "Diccionario antológico de artistas aragoneses, 1947-1978", Ramón Martín Durbán was a painter, mural decorator, poster designer and graphic illustrator. His artistic work became important after he settled in Barcelona, where he actively collaborated in the artistic preparation of the International Fine Arts Exhibition of 1929 and, later, during the years of the civil war, he made several posters for the government of the Generalitat. He had begun his artistic training in Zaragoza with the sculptor-decorator Cubero and in the Academy of Drawing of Abel Bueno. He participated in the National Exhibition of Fine Arts of 1932, in the Aragonese Art Salons of Zaragoza and in the Autumn and Spring Salons of Madrid and Barcelona. He went into exile in Venezuela, where he taught Portraiture at the School of Applied Arts in Caracas, developing an abundant mural painting activity. Presents damage caused by xylophagous in the stretcher frame.

Estim. 3 200 - 3 500 EUR

Lot 96 - DARÍO DE REGOYOS (Asturias, 1857 - Barcelona, 1913). "Forest". ca.1897 Oil on canvas adhered to cardboard. Signed in the lower right corner. The work will be included in the next catalog raisonné of the artist. It was owned by the draftsman Manuel Feliú. We thank Mr. Juan San Nicolás for his help in cataloguing the work. You can attach a certificate of authenticity at the request and expense of the buyer. Measurements: 18 x 18 cm; 30 x 30 cm (frame). Next to a narrow sand road grow trees of leafy crown. A Roman bridge is outlined in the distance. In this landscape, Regoyos uses a juicy brushstroke, rich in shades ranging from emerald green to lemon green. With subtle iridescence he translates the play of light that filters the branches and is projected with skill and poetic wisdom on the grass. Through small touches of the brush Regoyos reveals a composition where the colorful and shady atmosphere of this place is faithfully reflected. Regoyos was one of the impressionist masters in the capture of fleeting light. Trained at the San Fernando Academy of Fine Arts in Madrid, where he studied landscape painting with the Belgian artist Carlos de Haes as his teacher. It was then that the Asturian artist's knowledge began to expand towards Belgian landscape trends, a taste and interest that he developed by traveling to Belgium in 1879. The stay in Brussels was enriching for Regoyos, attending the Royal Academy of Fine Arts in Brussels as a student. However, the academicism integrated in the institution caused the artist to leave, and he turned to the former teacher of Carlos de Haes, Joseph Quinaux, in order to acquire new techniques.Regoyos became perfectly integrated in his new place of residence, he met a large number of artists, poets and writers, from whom he learned and completed himself as an artist. His recognition advanced thanks to his dynamism and artistic skill, which allowed him to enter the famous Circle of the XX (act. 1883-1894). It could be said that it was from then on when Regoyos' artistic career began to mature. In 1886, the Asturian artist developed a pointillist stage promoted by George Seurat's participation in one of the exhibitions held at the Circle of the XX. The commotion and impact caused by Seurat's treatment provoked the creation of a pointillist group, in which Darío de Regoyos participated. This innovative movement attracted French impressionist artists such as Paul Signac, another reference in the artistic technique of Regoyos. After the dissolution of Los XX in 1893, Regoyos decided to return to Spain where the artistic panorama was limited, since the new tendencies had not yet arrived from France. It could be said that this was the end of his apprenticeship period, becoming a teacher of artists liberalized from the "sorollismo" rooted in the field of landscape painting, and encouraging them to spread his ideas through the media of the time. The Asturian artist's exhibition career covered a large number of cities, such as Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastian, London, Mexico City, Bordeaux and Buenos Aires, among others. It is also represented in institutions such as the Prado Museum, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions.

Estim. 6 000 - 7 000 EUR

Lot 97 - JOAQUIN AGRASOT (Orihuela, Alicante, 1837 - Valencia, 1919). "Odalisque". Watercolor on paper. Signed in the lower right corner. Measurements: 35 x 26 cm; 62 x 54 cm (frame). 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 de 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. 800 - 900 EUR

Lot 98 - JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937). Untitled. Oil on canvas. Signed in the lower right corner. Measurements: 41,5 x 52 cm; 70 x 81 cm (frame). In this group portrait, each of the costumbrista types have been connoted with individualized personalities. Psychological depth and meticulous verism characterize this work. The characters appear in the foreground, against a neutral background that highlights the figures. An old man who seems dejected, while the child sings happily, thus becoming a metaphor for life and the different stages of life. José Benlliure began his artistic studies with Francisco Domingo in Valencia, and then continued his training in Madrid, where he settled in 1869. From an early age he enjoyed the patronage of the King of Savoy and in 1879 he moved to Rome, where he was discovered by the important art dealer Martin Colnaghi, who financed his studies in the city. In 1897 he made several trips to Tangiers, Algeria and Morocco, where he approached the everyday world of the places he visited through a realistic, luminous and loose painting. From 1900 onwards his work depicts popular themes. He took part in the National Exhibitions of Fine Arts, obtaining third medals in the editions of 1876 and 1878 and first in the one of 1887. He belonged to the Academies of San Fernando (Madrid), San Lucas (Rome), San Carlos (Valencia), Brera (Milan) and Munich. Between 1904 and 1912 he directed the Spanish Academy in Rome. The most important part of his production is preserved in Valencia, in his House Museum and in the Museum of Fine Arts San Pío V. He is also represented in the Prado Museum, the Thyssen-Bornemisza and the Palace of Charles V in Granada, among others.

Estim. 4 200 - 4 500 EUR

Lot 99 - PLÁCIDO FRANCÉS Y PASCUAL (Alcoy, 1834 - Madrid, 1902). "Musketeer. Oil on panel. Signed in the lower right corner. Measurements: 20 x 15,5 cm; 42 x 36 cm (frame). The portraits and scenes of musketeers were very popular among the 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. Numerous painters of the time worked along these lines, seeking to capture with the greatest possible verism scenes of the past recreated with precise attention to detail, worked with a language of academic roots. This type of scenes starring musketeers are framed within the genre of casacón painting, scenes worked with a special narrative and descriptive eagerness, which in Spain will have as main formal reference to Velázquez and his contemporaries. He was born in Alcoy, and began his artistic training in Valencia at the Academy of San Carlos de Valencia, but moved to Madrid in 1854 to complete his studies. There he enrolled as a student at the San Fernando Academy in Madrid, later, in 1861, he was appointed Professor of the School of Fine Arts in Valencia and later of Arts and Industries in Madrid. In 1882 he was awarded the Cross of Carlos III. Antonio Cortina Farinós was one of his best known students. In 1862, he made decorations for the "Palacio del Marqués de Dos Aguas" in Valencia. Four years later, he painted Venus medallions on the ceiling with putti and cherubs for the ballroom of the palace. He also worked on the palaces of the Duke of Santoña and the Marquis of Larios. In 1870 he moved to Madrid, where he became one of the founders of the Círculo de Bellas Artes and the Asociación de Acuarelistas de Madrid. He also became a professor at the Royal Academy of Fine Arts of San Fernando and began to show his works at the annual National Exhibition of Fine Arts, where he won medals in 1871, 1890 and 1892. His illustrations often appeared in the magazine Blanco y Negro. He died in Madrid at the age of 68. Two of his children were also painters: Fernanda Francés y Arribas (1862-1939), who specialized in painting flowers, and Juan Francés Mexía (1873-1954) and his cousin was the painter Emilio Sala, who was also one of his students.

Estim. 1 400 - 1 700 EUR

Lot 100 - JOAQUIN AGRASOT (Orihuela, Alicante, 1837 - Valencia, 1919). "Religious scene". Oil on canvas. Signed in the lower left corner. Measurements: 37.5 x 23.5 cm; 62 x 48 cm (frame). In this work we see a theme very much to the taste of the Spanish bourgeoisie of the second half of the XIX century and beginning of the XX century, the costumbrista scenes, cheerful and narrative, starring mischievous altar boys. Most commonly, these scenes were treated as we see here, with a precise and descriptive drawing and a special attention to detail, both in gestures, expressions and clothing as well as in the scenery surrounding the boys, usually interiors such as the one depicted here, a richly decorated dependency of the temple. 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. 2 200 - 2 500 EUR

11th July - Classics of the 19th & 20th century

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