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Lot 69
VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997)."Untitled".Ink, watercolor, pencil and collage on paper.Work validated by Mr. Pierre Vasarely.Measurements: 46 x 30 cm; 58 x 40 cm (frame).In this piece the artist plays with the concept of darkness on the surface of the paper in which there are some blank spaces, thus enhancing the bichromy of the piece, and creating an image of great expressiveness and tension that is resolved by the conjunction of black and white. The artist has created on the surface of the paper, a composition whose form moves energetically, merging and separating from each other, in such a way that it suggests a kind of ordered chaos.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a student of the Bauhaus. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid.
Lot 73
JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956).Untitled.Oil on canvas. Relined.Presents restoration.Signed in the lower left corner.Measurements: 46 x 56 cm.We are in front of a landscape where it is possible to appreciate the compositional audacity and the freedom of the stroke, based on material touches and a special capacity to capture an atmosphere with the minimum elements. The landscape and the characters that make up the scene, seem to merge into a plot of textures generous in matter, built in rich earthy shades, giving the whole a halo of mystery permeating the natural world.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly after, he settled in Paris, where he specialized in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he befriended Picasso and Hugué, and exhibited in the Salons. Between 1905 and 1906 he traveled through Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returns in 1907 to Paris, and makes several exhibitions in the French capital and in Liege. He went to Sitges in 1910, at a time when his style had been losing its post-impressionist influences and was approaching the Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organizes a personal exhibition in the Faianç Catalá that placed him, after Nonell's death, at the head of the Catalan painting of the moment. During the following years he travels and exhibits in Europe, but returns to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honor, and later special rooms were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime of work. An anthological exhibition was also held in Madrid in 1974, commemorating the centenary of his birth. As an easel painter he was the most representative of the "noucentisme". His landscapes and female nudes stood out especially, as well as his portraits, totally distant from traditional painting. Currently, Joaquín Sunyer is represented in the MACBA, the Fine Arts Museum of Bilbao, the Georges Pompidou Center in Paris and the Reina Sofía National Art Center in Madrid.
Lot 7
MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."La buitrera", 1999.Mixed media on board.Presents label of the Alfama Gallery (Madrid).Measurements: 27 x 27 cm; 40,5 x 40 cm (frame).From 1986 to 2007, Cuixart worked in what is known as a period of introspection in nature and mental landscape. During this period the artist was inspired by symbolism, turning to classical sources such as Aristotle or Pericles. Without abandoning his interest in matter, he introduced concepts such as the atom or fractals.Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he participated in the foundation of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the beginning a strong kinship with surrealism, as well as a great sensitivity to the expressive power of color. Towards 1955 he immersed himself in material informalism, which led him to use the "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde art held at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduces collage in his work in 1962, which will gradually lead him towards pop-art. Enriched by all these experiences, he returns again to flat painting, reaching a very personal critical realism, which synthesizes expressionism with dramatically transformed figuration, always valuing the chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. In addition, he participates in a group exhibition at the UNESCO Palace in Paris, receives the Cross of St. George of the Generalitat of Catalonia, and the Cross of Isabella the Catholic. In 1988, he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colors and shapes, and reincorporates a more material figuration to his work. In 1998 the foundation that bears his name was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo in Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.
Lot 9
OTTO FRIEDRICH WEBER (Germany, 1890-1957)."Village". circa 1915Oil on canvas.Signed in the lower right corner.Measurements: 51 x 51 cm; 60 x 60 cm (frame).Otto Weber initially studied at the Werkkunstschule in Wuppertal, where Max Bernuth was his teacher. His first drawings were acquired by Baron August von der Heydt, father of Eduard von der Heydt, who also allowed the budding artist to attend the painting class at the Dresden Academy. In Munich, Weber became a pupil of Hermann Urban, where he learned the technique of wax color, which was still new at the time. A commissioned work took Weber, who accompanied the landscape painter Edmund Steppes on a trip through southern Germany, to Paris, where he was the only German artist to exhibit at the Salons d'Automne of 1911 and 1913. He lived with numerous Cubist artists at the artists' house La Ruche, in the Passage de Dantzig, and, like his compatriot Arno Breker, was a friend of the young Pablo Picasso. In 1914 Weber traveled to Spain. In Barcelona he joined the colony of artists around Robert Delaunay, who like him had escaped military service and who influenced Weber's work. Weber exhibited at the Josep Dalmau Gallery in 1915, and later in Madrid and Toledo. He made a living drawing caricatures for the Spanish press. In 1919, Weber returned with his family to Elberfeld, where Edmund Becher's Galerie Raumkunst offered him exhibition opportunities. In 1927 he returned to Paris, where the city of Wuppertal commissioned him to design a mural. The newspaper Le Soir called him "the greatest German painter of the time." During the Nazi era, Weber was forbidden to travel, which made it almost impossible for him to work, as he often spent several months of the year in Mediterranean countries for preliminary studies. His paintings, including Die Schreitende, were removed from museums, and his studies were destroyed in the phosphorus attack on Wuppertal in 1943, resulting in the loss of a considerable part of his life's work. Weber lived out the end of the war in Eindhoven. Otto Friedrich Weber was a member of the Rhenish Secession, the Bergische Kunstgenossenschaft and the Malkasten in Düsseldorf. The Von der Heydt Museum in Wuppertal dedicated a memorial exhibition to him in 1958.
Lot 41
SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Marina".Oil on canvas.Signed in the lower right corner.Measurements: 43 x 62 cm; 71 x 80 cm (frame).In this work, Segundo Matilla offers us an evocative coastal landscape, with a rotten wooden hut occupying the first line in front of the immense sea. Solitary sailboats are silhouetted against a horizon marbled with filtered light.Despite being 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. An outstanding representative of Spanish impressionism, he participated in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organized by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honorable mention in 1891) or the Art Exhibitions of 1918 and 1919. In 1897 he obtained an honorable mention at the National Exhibition of Fine Arts in Madrid for his painting "Washerwomen of Galicia". He also showed his work in Paris, taking part in exhibitions such as the French Artists' Salon of 1897. Among his individual exhibitions, those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute, stand out. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Of special success was his very large exhibition (one hundred and fifty works) held at the Sala Parés in 1914, received with unanimous praise by the critics of the time. The following year it was presented in Madrid at the Salón Vilches, where all the works exhibited were sold. He achieved great public and critical success thanks to his landscapes of the Ampurdán, Camprodón, Port de la Selva and Cadaqués. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and pictorial technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape painter and sailor, painting portraits of great quality, especially of people from the world of show business, and his flower paintings and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, among them his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.
Lot 51
JOSÉ VELA ZANETTI, (Milagros, Burgos, 1913 - Burgos, 1999). "Peasants resting after the harvest". Oil on canvas. Signed in the lower right corner. Size: 126 x 106 cm; 140 x 120 cm (frame). In this work the painter shows us all its essence, Vela Zanetti is considered the painter of the soul of Castile, since he knew how to masterfully portray his land through its heroic people, those hard-working human beings, workers from sunrise to sunset. He is the painter of the dignity of man, and in fact all his work revolves around the human being, both the work done in Spain and the works he painted during his long exile in the Dominican Republic. Thus, in each of his works one can appreciate the sacred and dignified condition of man. Born in Milagros, province of Burgos, he moved to León with his family when he was a child. There he held his first exhibition in 1931. Supported by his father, after finishing high school he traveled to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterwards he obtained a scholarship to visit Italy, granted by the Provincial Council of León. As a consequence of the Spanish Civil War he went to the Dominican Republic, where he remained until 1960. In Santo Domingo he started, together with other exiled artists, the National School of Fine Arts. During this period he held exhibitions and projects in Mexico, Colombia, Puerto Rico and the United States. In 1951 the John Simon Guggenheim Foundation of New York awarded him a grant for a singular project: the creation of a large-scale mural for one of the main spaces of the United Nations headquarters, in commemoration of the fiftieth anniversary of the Universal Declaration of Human Rights. This project definitively catapulted the master from Burgos, and is today considered his most important work both for its symbolic relevance and for its expressiveness and artistic quality. He himself said of this work: "I hope that those who contemplate this mural will realize that peace must be won, not once and forever, but every day, remembering the sufferings of the past and making real what men aspire to for the future". Vela Zanetti also painted other important murals, such as those on historical themes for the Provincial Council of Burgos or the frescoes of the old Ercilia Theater in Barahona, Dominican Republic. He was an academician of San Fernando, and Doctor Honoris Causa by the University of Burgos. The Centro Cultural de la Villa de Madrid held in 2001, under the title "Antológica", a retrospective exhibition on the work of Vela Zanetti, the most important to date. In 2009 an exhibition commemorating the tenth anniversary of his death was held at the Ángeles Penche gallery in Madrid. In short, an important exhibition dedicated to the work of Vela Zanetti, commemorating the centenary of his birth and the most complete anthology of this painter held to date, was held at the Fórum Evolución in Burgos. His works are currently preserved in the funds of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia and Switzerland.
Lot 20
ELISEO MEIFREN (Barcelona, 1857 - 1940)."View of the Port of Mallorca".Pastel and chalk on paper.Signed in the lower right corner.Measurements: 46 x 56 cm.; 72 x 92 cm. (frame).Painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to make romantic landscapes of academic invoice. 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 "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
Lot 23
EDUARDO ARROYO (Madrid, 1937-2018)."Sherlock Holmes", 1991.Collage on paper.Signed and dated in the lower central area. Titled and dated on the back.Presents Metta gallery label (Madrid).Measurements: 46 x 30 cm; 55 x 37 cm (frame).In 2011 Es Baluard Museo d'Art hosted the exhibition; Eduardo Arroyo, painting literature. The exhibition included 193 works representing all those characters from literature that had inspired the work of the artist Eduardo Arroyo, who turned them into undisputed protagonists of the painting, thus creating a symbiosis between letters and drawing. He immortalized authors such as Flaubert, fairy tale characters, such as Little Red Riding Hood, and protagonists of literary classics, as in this work. With a totally personal language, Arroyo, rescues in this work the figure of Sherlock Holmes, only through the silhouette and a drawing that largely reminds the tweed, thus defining the British origin of the protagonist.Painter, sculptor and engraver, Arroyo stands out as an important figure within the neo-figurativist movement. A key figure in the new Spanish figuration, Arroyo came to prominence in the national art circuit belatedly, in the eighties, after a two-decade-long stay away forced by the Franco regime. Currently, his works hang in the most reputable Spanish museums and his creativity extends to theatrical scenographies and illustrated editions. Arroyo began his career in journalism, finishing his studies in 1957. He then left for Paris, fleeing the asphyxiating Spanish political climate of the time. Although his first vocation was as a writer, a task he continues to this day, by 1960 he was already making a living as a painter. That year, he participated for the first time in the Salón de Pintura Joven in Paris. His critical attitude towards dictatorships, both political and artistic, pushed him to controversial initiatives. He opted for figurative painting during the years of the overwhelming dominance of abstract painting in Paris, and his first themes were reminiscent of "black Spain" (effigies of Philip II, bullfighters, dancers), worked in a caustic and unromantic key. At the beginning of the sixties his plastic vocabulary moved under the North American influence of pop art, and in 1964 his break with informal art became definitive. His first public impact came in 1963, when he presented a series of effigies of dictators at the Third Paris Biennial, which provoked protests from the Spanish government. That same year, Arroyo prepared an exhibition at the Biosca Gallery in Madrid, which was inaugurated without his presence since he had to flee to France, pursued by the police; the exhibition was censored and closed a few days later. However, Arroyo's figurative option took a long time to be accepted in Paris. The painter rejected the unconditional devotion to certain avant-gardists, such as Duchamp or Miró, which he considered imposed by fashions. Actually, his interest is to demystify the great masters and defend the role of the market as protector and thermometer of art, as opposed to the network of museums and influences paid for with public money. In 1974, Arroyo was expelled from Spain by the regime, and would not recover his passport until Franco's death.
Lot 19
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Theater of the Atelier", Paris.Oil on panel.Signed in the lower right corner.Measurements: 37 x 46,5 cm; 55,5 x 65 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet offers us a view of the Atelier theater, an enclave frequently immortalized by the painter.Elisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
Lot 78
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Flower vase".Oil on canvas. Relined.Presents craquelure and lifting of the pictorial layer.Attached certificate issued by Dr. Gerardo Pérez Calero.Needs restoration.Signed in the lower right corner.Measurements: 81 x 46 cm.Scene that has as protagonist a vase with flowers where the loose and sketchy brushstroke is combined with a masterful treatment of the light, very thought and studied, that models the volumes reinforcing the three-dimensional sensation. Everything in the composition is rational, balanced and symmetrical except for the flowers themselves, which are arranged randomly.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he participated in numerous exhibitions of fine arts, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
Lot 70
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvasIt has slight losses on the paint layer and craquelure.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower left corner.Measurements: 66,5 x 85 cm.Landscape composed by an architectural group located on a mound. According to Pérez Calero, it could be an old hermitage, or monastery that seems abandoned and of which stands out in a side what should be a sort of chapel with a semicircular arch, near the cemetery, from where a cypress tree can be seen. It is surrounded by a palisade closing the perimeter to which it is acceded by a rustic wooden door. Intramurals, a thing that could belong to the domestic complex, as well as some trees. The piece reflects solitude and silence, tinged by the absence of human presence.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he traveled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he participated in numerous exhibitions of fine arts, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
Lot 29
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."La butte de Montmartre sans la neige" (The hill of Montmartre without the snow).Oil on cardboard.Signed in the lower right corner. Titled on the back.Measurements: 37 x 44,5 cm; 53,5 x 62 cm (frame).The Parisian district of Montmartre inspired deeply the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet gives us a view of the emblematic Montmartre hill with the Sacré Coeur Basilica in the background, one of the most repeated sites by the artists of the time. In it, the painter captures the underlying essence of one of the most magical places in the French capital, through a daring technique and a totally harmonious and matching color palette, determined by the melting snow.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work.
Lot 10
OTTO FRIEDRICH WEBER (Germany, 1890-1957)."Landscape with houses". circa 1915.Oil on canvas.Signed in the lower right corner.Measurements: 51 x 51 cm; 60 x 60 cm (frame).Otto Weber initially studied at the Werkkunstschule in Wuppertal, where Max Bernuth was his teacher. His first drawings were acquired by Baron August von der Heydt, father of Eduard von der Heydt, who also allowed the budding artist to attend the painting class at the Dresden Academy. In Munich, Weber became a pupil of Hermann Urban, where he learned the technique of wax color, which was still new at the time. A commissioned work took Weber, who accompanied the landscape painter Edmund Steppes on a trip through southern Germany, to Paris, where he was the only German artist to exhibit at the Salons d'Automne of 1911 and 1913. He lived with numerous Cubist artists at the artists' house La Ruche, in the Passage de Dantzig, and, like his compatriot Arno Breker, was a friend of the young Pablo Picasso. In 1914 Weber traveled to Spain. In Barcelona he joined the colony of artists around Robert Delaunay, who like him had escaped military service and who influenced Weber's work. Weber exhibited at the Josep Dalmau Gallery in 1915, and later in Madrid and Toledo. He made a living drawing caricatures for the Spanish press. In 1919, Weber returned with his family to Elberfeld, where Edmund Becher's Galerie Raumkunst offered him exhibition opportunities. In 1927 he returned to Paris, where the city of Wuppertal commissioned him to design a mural. The newspaper Le Soir called him "the greatest German painter of the time." During the Nazi era, Weber was forbidden to travel, which made it almost impossible for him to work, as he often spent several months of the year in Mediterranean countries for preliminary studies. His paintings, including Die Schreitende, were removed from museums, and his studies were destroyed in the phosphorus attack on Wuppertal in 1943, resulting in the loss of a considerable part of his life's work. Weber lived out the end of the war in Eindhoven. Otto Friedrich Weber was a member of the Rhenish Secession, the Bergische Kunstgenossenschaft and the Malkasten in Düsseldorf. The Von der Heydt Museum in Wuppertal dedicated a memorial exhibition to him in 1958.
Lot 36
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Astro".Acrylic on canvas.Signed in the lower right corner, titled and signed on the back.Measurements: 53 x 64 cm; 67,5 x 78,5 cm (frame).Great surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcazar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he settled in Paris, thanks to a scholarship from the French Institute. After winning two consecutive prizes in the Young French Painting Contest, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Gold Mill of the XXI Manchegan Exhibition of Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca Gallery in Madrid, to the United States, the world center of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Ubeda continued to receive important awards throughout his long career, especially highlighting the Grand Prize for Painting of the Circle of Fine Arts in 1980. Likewise, in 1998 the Centro Cultural de la Villa de Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition of thirty-five paintings at the Caja de San Fernando in Seville, dedicated to three of his constant themes: the landscape, the female nude and the still life. Úbeda has held individual exhibitions in several Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the Villa in Geneva and Paris, the Museum of Fine Arts in Jaén, the Museum of Contemporary Art in Badajoz, the Museum of Modern Art in Valdepeñas, the Museum of Engraving in Marbella, the Municipal Museum in Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum in Zaragoza, the Provincial Museum in Ciudad Real and, in the United States, the Museums of New Mexico, San Diego, Phoenix, Lowe in Miami and Evansille in Indiana.
Lot 55
HENRIC ANKARCRONA (Sweden, 1831-1917). "Equestrian scene at the foot of the Atlas Mountains, North Africa", 1872. Oil on canvas. It has slight damage. Signed and dated in the lower left corner. Measures: 53 x 95 cm 86 x 128 cm (frame). Oil on canvas in which the author represents a scene in which stands out the figure of a man on a horse in cabriole. The expressiveness of the posture of both, introduces the viewer into a battle scene, which is developing in the background. Orientalism 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. Along with the change of vision comes a technical and formal change; since it is no longer a question of recreating an imagined world in all its details, the brushstroke acquires impressionistic fluency, and the artists focus not so much on the depiction of the types and customs as on the faithful reflection of the atmosphere of the place, of the very identity of the North African populations. Henric Ankarcrona served as an officer in France and Spain and participated in several campaigns in North Africa. There he diligently drew motifs of country life and desert battles, camel caravans and Arab tribes. Sketches that after his return to Sweden formed the basis of a large number of paintings. Ankarcrona was part of the circle of artists around Charles XV.
Lot 31
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Church with characters".Oil on canvas.Signed in the lower left corner.Work exhibited at the retrospective of Elisée Maclet held in Paris in 1960. With label on the back.Measurements: 80,5 x 65 cm; 95 x 79,5 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
Lot 14
Attributed to ARCADIO MÁS Y FONDEVILA (Barcelona, 1852-1934)"Woman with plates.Oil on canvas.Presents lack of paint and breakage in the upper left area.Measurements: 48 x 92 cm; 43 x 107 cm (frame).The author presents us with a voluptuous and suggestive image, conceived through the presence of a woman lying in a lush landscape. The lady is accompanied by several geese or swans, which she stares at, ignoring the viewer's gaze. Both the idea of the woman immersed in the landscape and the presence of the geese are elements typical of Arcadio Más's painting, as can be seen in several works that are part of the collection of the National Museum of Art of Catalonia.Painter and draftsman, founder of the luminist school of Sitges, Arcadio Mas i Fondevila was trained at the La Lonja School in Barcelona, where his teachers were Antonio Caba and Claudio Lorenzale. At the age of twenty he took part in his first collective exhibition, organized in the hall of the Artistic Association of Barcelona. In 1875 he won the first Fortuny scholarship from the City Council of Barcelona, which allowed him to further his studies by traveling to Italy as a boarder between 1876 and 1886. During these years, Arcadi Mas i Fondevila visited Venice, Rome, Naples and Capri, while participating in several group exhibitions at the Sala Parés in Barcelona. Ascribed to the Neapolitan naturalist school of Domenico Morelli, in 1885 he also participated in the exhibition of the Center of Watercolorists of Barcelona. On his return to Catalonia, his friend Joan Roig Soler encouraged him to visit Sitges, and from this meeting and acquaintance was born the luminist school of Sitges, a pictorial current that brought together other artists such as Joaquim de Miró, Antoni Almirall and Joan Batlle. In 1887 he participated in the National Exhibition of Fine Arts in Madrid, and won a medal for his work "Corpus Christi Procession in Sitges". He also participated in the Universal Exposition of Barcelona the following year, being awarded the first medal. In 1895 he travels again to Madrid, this time accompanied by Santiago Rusiñol and Zuloaga, and later he goes to Granada with Rusiñol, Miguel Utrillo and Macari Oller, with the intention of illustrating some articles of the first one for "La Vanguardia". Mas i Fondevila won two more medals at the Fine Arts Exhibitions in Barcelona in 1894 and 1896, and in 1899 he joined the Círculo Artístico de Sant Lluc. In 1900 he inaugurated the Rovira Salon in Barcelona with his first individual exhibition, a show that consecrated him as a master of pastel. An example of the relevance of this painter can be found in the fact that Picasso had copied one of his nudes from 1895. During this period, Mas i Fondevila also collaborated as a draftsman in "La Ilustració Catalana". Thanks to a donation from the American patron Charles Deering, in 1913 he painted the tympanum of the Santa Catalina portal of the church of San Bartolomé and Santa Tecla in Sitges. Today a copy can be admired "in situ", the original having been erased by the passage of time. In 1928 he was commissioned to paint one of the murals of the Sala de Sant Jordi in the Palace of the Generalitat in Barcelona, and in 1932 he exhibited again individually, this time in the Pinacoteca room. On the occasion of the fiftieth anniversary of his death, the Sitgetan Studies Group dedicated an anthological exhibition to him at the Maricel Museum (1985). In his painting, Mas i Fondevila combined Catalan localism with his Neapolitan memories. He also worked on portraits, with outstanding works such as those of Antonio Caba and Pitarra. He is represented in the National Art Museum of Catalonia, the Maricel, the Cau Ferrat and the Sitges Town Hall, as well as in other museums and private collections.
Lot 1
AUGUSTE CHAIX (France, 1860 - 1922)."River landscape".Oil on canvas.Signed in the lower right area.Measurements: 38 x 61cm.; 56 x 79cm. (frame).Auguste Chaix is an artist active in France in the last quarter of the 19th century and the first decades of the 20th. In direct contact with the avant-garde, his painting assumes many of the objectives and contributions of impressionism. In his work, battle scenes and portraits of soldiers, on the one hand, and landscape, on the other, are of fundamental importance. Landscape became a genre of great importance in French painting after Romanticism and Realism, and it is, in fact, where some of the main innovations of avant-garde art are embodied. Impressionism was interested in plein air painting and atmospheric capture, and post-impressionism would add a new use of color and brushstroke. The work we now present is nourished, above all, by the impressionist contributions. The artist offers us a view of a wild landscape, with the architectural elements camouflaged among the bushes. The pond in the foreground absorbs a rich chromatic range of ochre, sienna and earth from the lower plane. The brushstroke is undone and not very draftsmanlike, material and impastoed, and the painter is interested in capturing the effects of light. The whitish light of an overcast sky predominates, although it clears up in small areas, revealing a sky of intense blue, which feeds the play of contrasts.
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