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Lot 86
Blanche Camus (Paris, 1884 - 1968)"Fillette à la poupée" (Little girl with doll) Oil on canvas. Circa 1920. Labels on the back from "Atelier Blanche Camus" and a stamped label with the inventory number 259.130 x 81 cm. Provenance: Private collection Paris. Gift from the painter to the family that owns it.Neo-impressionist French painter of portraits and landscapes. Daughter of the botanist Gustave Camus. She studied in Paris with Robert-Fleury, Jules Lefebvre and Adolphe Déchenaud. She worked mainly in the French Midi, where she made friends with Henri-Martin and Dunoyer de Segonzac. She exhibited regularly in Paris, at the Salon des Artistes Français between 1911 and 1939, winning their gold medal in 1920. She also exhibited her work in the prestigious Bernheim-Jeune and Georges Petit galleries. She was made a Chevalier de la Légion d'honneur. The museums of Besançon, Chalon-sur-Saon, Douai, Lyon and Nice keep her work among their collections.
Lot 7
JUAN PABLO SALINAS Y TERUEL (Madrid, 1871 - Rome, 1946)."Seated Lady".Oil on panel.Signed and located in the upper left corner.Size: 36,5 x 16 cm; 43 x 33 cm (frame).Of delicate character, the Seated Lady that we present here, is undoubtedly a clear exponent of the precious production of Salinas, where the artist poses an intimate atmosphere to recreate the psychological introspection of the person portrayed.Juan Pablo Salinas began his artistic training at the San Fernando Academy of Fine Arts in Madrid, although his time in the classroom was probably short-lived. He began to make a name for himself in 1885, when he took part in the exhibition organised 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 grant awarded by the Diputación Provincial de Zaragoza. There he attended the Círculo Internacional de Bellas Artes, as well as the evening classes at the Academia Chigi. He also joined the Spanish artistic colony resident in the city and worked alongside 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 with a notable Tuscan influence, with works such as "Romeo and Juliet" and "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, on a trip to Paris, he became acquainted with the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great success in France, Italy, Central Europe, Russia and America. Around this time he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which he depicted figures dressed in the fashion of the time in the setting of luxurious interiors, minutely detailed through a precious technique that is recreated in the colourful description of clothes and lace but, above all, in the masterly treatment of the deliberately sensual female flesh tones. During this period Salinas also produced several series for the decoration of large salons. In addition to these themes, he painted orientalist scenes and church interiors. In the last stage of his career we can see 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.
Lot 113
FÉLIX REVELLO DE TORO (Málaga, 1926)."Still life", 1962.Oil on canvas adhered to panel.Signed and dated in the lower left corner.Measurements: 51 x 74 cm; 52 x 75 cm (frame).Revello de Toro was fond of painting already as a child, receiving his first artistic training with father Oliver, in the Jesuit school of El Palo. Later he extended his training at the School of Fine Arts in Malaga, where he was taught by Álvarez Dumond, Burgos Oms, Murillo Carreras and Bermúdez Gil. He made his individual debut when he was only twelve years old, and after completing his studies he obtained a scholarship to further his studies in Madrid. He studied at the San Fernando Academy for five years, at the end of which he was awarded the Extraordinary Fine Arts Prize and the Carmen del Río scholarship, which enabled him to study in Rome in 1951. On his return, his work began to be admired as a result of his personal exhibitions in 1953 at the Sala Macarrón and the Casino in Madrid. That same year he married and won the competitive examination to become a Fine Arts teacher in Barcelona, specifically at the La Lonja School. Years later, in 1973, he left teaching in order to devote himself fully to his painting, especially to his work as a portraitist. He painted magnificent portraits of personalities from the world of politics, culture, sport, etc., giving rise to an extensive production which is now widely recognised. His portraits of the kings of Spain stand out in this field. In 1987 he was made an honorary member of the Royal Academy of Fine Arts of San Telmo, and in 2001 he was made a favourite son of the province of Malaga. He also holds the Gold Medal of Malaga and the Medal of Honour of the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 2002 he was awarded the Medal of Andalusia. He is currently represented in the Museum that bears his name in Malaga, as well as in other public and private collections.
Lot 122
JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Soldier", 1880.Oil on panel.Signed and dated in the lower right corner.Size: 35 x 26,5 cm.José Cusachs was born accidentally in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that Cusachs favoured. Among military themes, this artist was particularly fond of cavalry, owing to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, which were always a great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería de Valladolid, the Galería de Capitanes Ilustres of Barcelona City Council and important private collections, such as the Santiago Gramunt collection.
Lot 105
JUAN BAUTISTA PORCAR RIPOLLÉS, (Castellón de la Plana, Castellón, 1889 - 1974)."Flowers" 1940.Oil on canvas.Signed in the upper left corner and dated on the back.Measurements: 46 x 61 cm; 57 x 72 cm (frame).Trained with Vicente Castell, in 1906 he travels to Valencia thanks to a scholarship, and enters the School of Fine Arts of San Carlos. Four years later he settled in Barcelona, where he studied at the Escuela de La Lonja. After completing his studies, in 1915 he returned to Castellón, where he founded the Agrupación Ribalta, which focused on landscape painting. A regular at the Círculo Artístico de Sant Lluc in Barcelona, he made his individual debut at the La Pinacoteca gallery in 1918, where he continued to exhibit frequently from then on. He took part in the Barcelona International Exhibition of 1929, as well as in international competitions in Venice, Oslo, Buenos Aires and Paris. In 1954 he won the first medal at the National Exhibition of Fine Arts, an award which brought him definitive recognition. Porcar is represented in the Museums of Fine Arts in Valencia, Alicante and Castellón, the Museum of Contemporary Art in Vilafamés, the Lladró Museum and the National Theatre Museum in Almagro, among others.
Lot 147
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Day at the beach, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this work Opisso offers us a lively popular scene, brimming with narrative. The family gathered next to the beach hut is getting ready to leave: a mother tries to put the little shoe on her little girl's shoe, another woman is fixing the ribbon tied around the little dog's neck? Each character appears individualised in attitudes, physiognomies and gestures. It is an image rich in detail and characterised by the vivacity of an author who was above all a great draughtsman and cartoonist.In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
Lot 66
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Huerto de Vilanova".Oil on canvas.Signed in the lower right corner.Size: 38 x 46 cm; 57 x 65 cm (frame).Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893, together with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual), he founded the "Colla del Safrà" (Safrà Group) to explore together the pictorial initiatives of the end of the century. The name came from the saffron and ochre tones they used in their paintings, with which they sought to capture the Mediterranean luminosity and reject the coldness of the greys and blues of the French Impressionists. Nevertheless, they imitated the Impressionists in their taste for painting in the open air, capturing the atmospheres and types they saw. In 1896 they even took part as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works that give us a clear idea of the group's ideals: "The Rector's Vegetable Garden" and "The Orange Seller". From 1897 he also frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde met, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. 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 with the aim of applying for a scholarship in Rome. In 1901 he exhibited the fruit of this first Mallorcan period at the Sala Parés in Barcelona, where he 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. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He painted the houses, the churches, the orchards, the people, the flowering almond trees, the farmyards... Unimportant subjects that were more and more in line with the reality of nature, as they only wanted to reflect his love for his land and his constant search for changes in the light. His style was no longer as expressive as in Mallorca, although his bold use of colour and stain remained. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for 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 honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.
Lot 89
JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Amazona".Oil on canvas.Signed in the lower left corner.Attached label of the Barbié Gallery and Barrachina's label.It presents light Greek in the upper right corner.Measurements: 56 x 45 cm; 85 x 74 cm (frame).Cusachs captures here an equestrian portrait far from the rigour of the genre, seeking to transfer to the canvas a piece of everyday life, of reality. This is particularly reflected in the way he captures the movement of the horse, at a walk, with two legs raised and its head lowered to form an elegant curve. The lady, dressed in the clothes of a mid-19th century horsewoman, elegantly maintains her composure.José Cusachs was accidentally born in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that became Cusachs's favourite. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, always obtaining great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is housed in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería de Valladolid, the Galería de Capitanes Ilustres of Barcelona City Council and prominent private collections, such as the Santiago Gramunt collection.
Lot 135
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923).Untitled.Oil pasted on board.Signed in the lower right corner.Size: 23 x 36 cm; 59 x 67 cm (frame).In this work inspired by Sorolla's painting, the artist shows us two small children immersed in the gentle swell of the sea waves. The artist resolves the scene through the use of a broad, fluid brushstroke and shapes the volumetry of the protagonists. Colour and matter predominate over the drawing, which Navarro Llores plays less of a leading role in favour of the atmospheric capture and the tactile values offered by the work. Both children seem to be introduced into the landscape in an organic way, forming an indisputable part of the atmospheric perception of the work, which stands out for its careful study of light.José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies, and he devoted himself to depicting local, North African and Orientalist themes, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarrete's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Lot 87
VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879-1963)."Segoviana con bola dorada", ca.1915-1920.Oil on canvas.Signed in the lower right corner.Bibliography: Revista Plus Ultra, nº 55, year V. Buenos Aires, 1920.Size: 60,5 x 47 cm; 86 x 73 cm (frame).The retrospective and nostalgic look, full of tenderness, towards the regional roots that Valentín de Zubiaurre expresses in his paintings is on this occasion enhanced by the baroque resource of the crystal ball. It should be remembered that the reflecting sphere was used in the 17th century to enhance the complexity of perspective and the play of gazes, but also to allude to the passage of time. Pieter Claesz used it in both senses in his still lifes. The ball held by the old woman portrayed by Zubiaurre contains on its convex surface the self-portrait of the painter in his studio, the same resource used by Claesz in "Still Life with a Glass Sphere" (a canvas now in the Germanisches Nationalmuseum in Nuremberg), an image that the glass transforms into a spectral one, into pure memory, into indelible remembrance. This lends great expressive power to the painting as a whole. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, an art with a Romantic, costumbrista heritage and a realistic, meticulous style, which focused on depicting subjects, themes and characters reflecting a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. They attended classes at the Académie Julian and became acquainted with modern trends, but were not permeable to their influence, mainly due to the weight of their academic training and their admiration for both the Flemish and Italian primitives and contemporary Spanish painters such as Darío de Regoyos and Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Fine Arts Exhibitions and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions and won prizes at important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco and San Diego. From the 1920s onwards, the Zubiaurre brothers experienced their most successful period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
Lot 148
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Market, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this agitated urban scene, some children try to feed a sheep under the amused gaze of their parents. They are in a Barcelona market, and part of the flock entertains other groups of passers-by at the back, next to a gallery of arcades. As was usual in this artist's compositions, the scene is brimming with narrative. Each character is individualised in attitudes, physiognomies and gestures.Opisso was a painter, draughtsman and cartoonist. In his youth he participated in Barcelona's modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
Lot 70
GUSTAVO BACARISAS Y PODESTÁ (Gibraltar, 1873 - Seville, 1971)."Vista de pueblo".Watercolour and mixed media on paper.Signed in the lower left corner.Size: 34,5 x 28 cm; 50 x 43 cm (frame).Gustavo Bacarisas produced several images dedicated to rural landscapes, in which, as here, he introduced the colour blue with great mastery. A tonality that he mastered to such an extent that it became one of his personal hallmarks. In this image the use of that colour configures a scene in semi-darkness, which is counterbalanced by the warmth of the last shot, lit in such a way as to create a specific moment of the day, when the city, or the village in this case, is dawning. The narrow street, configured through a large diagonal, forms a landscape of great depth, with only an old woman dressed in mourning, next to a little girl tenderly dressed in pink.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training with a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913), where he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
Lot 44
AURELI TOLOSA Y ALSINA (Barcelona, 1861 - 1938)."Composition with Flowers and Mirror".Oil on canvas.Signed in the lower right corner.Size: 69 x 100 cm (frame).Tolosa y Alsina was a disciple first of the French master and painter Justin Simon and, later, of the master Modest Urgell. From his youth he was noted for his technical skill and his inspiration, especially in the field of landscape painting, which is confirmed by his enormous collection. He found numerous clients and powerful admirers among the Catalan and Spanish bourgeoisie and aristocracy, and worked on the decoration of bourgeois houses, such as the Palace of the Count of Figols and the Casa del Senyor Vitellin in the Plaça de Catalunya, as well as decorating the new headquarters of the Banco Americano. His popularity among the bourgeoisie made him much in demand as a private painting master; he thus came to have a large number of disciples and attained a high social standing. He took part in various art competitions and exhibitions in Barcelona, where he was awarded several prizes. His work includes paintings of landscapes and vases of flowers, but it was his fan paintings that earned him the status of a neat painter and excellent decorator. Also worthy of note are his imitations of antique paintings, as well as the tapestry, enamel and gilding of various works that he painted in his studio in the Plaza de Letamendi, in the city of Barcelona. He became very popular on the peninsula, and specialised newspapers such as La Esfera: la ilustración mundial or La Ilustración Artística, among others, often mentioned him as a great master. His presence in exhibitions and competitions at the national level was frequent and he was often awarded prizes. For example, he took part in the General Exhibition of Fine Arts in Barcelona in 1894, the National Exhibition of Fine Arts in Madrid in 1930 and even in an exhibition of Spanish products held in Melilla in 1916. Although he painted individually, he was a member of the Artistic and Literary Society of Catalonia, based in the Sala Parés, which organised annual exhibitions in which its members - Catalan painters such as Modest Urgell, Joaquim Mir and José Masriera - exhibited their work. He also often collaborated with the Sala Busquets in Passeig de Gràcia, also in Barcelona. As has been said, he was a highly valued figure at local and national level, and was awarded numerous prizes, including the following: General Exhibition of Fine Arts of 1894. Painting Section Prize at the Exhibition of Plants and Flowers in 1895. 1st Class Medal. International Furniture Exhibition of 1924. Medal of Honour.
Lot 127
ELISEO MEIFREN ROIG (Barcelona, 1857 - 1940)."Sunset".Oil on panel.Signed in the lower right-hand corner.Measurements. 17 x 28 cm; 30 x 40 cm (frame).In this dedicated landscape Meifren recalls the work of Monet, surely influenced by the work "Impression of the Rising Sun". In both pieces one can appreciate the subtlety of the effects of light on the surface of the sea. However, Emigren configures the image with a very personal aesthetic language; diluting the colour more and dilating the brushstrokes.Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the Barcelona School of Fine Arts, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to produce romantic landscapes of academic style. After completing his studies in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he became acquainted at first hand with "plen air" painting, which was to have a powerful influence on his Parisian landscapes of those years. It was also in Paris that he coincided with the public debut of Impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome, where he came into 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 took part in the Regional Exhibition in Valencia, where he won a gold medal. Back in Barcelona in 1880, he made his individual debut in 1880 at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. During these years he was a member of the Modernist group and frequented Els Quatre Gats. In 1883 he returned to Paris, where he produced numerous drawings and watercolours with views of the city and its cafés, which earned him a warm reception from the French critics and public. In the late 1980s he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centre de Aquarelistes. In 1888 he was also a member of the jury for the Universal Exhibition held in Barcelona. In 1890 he returned to the French capital for the third time, where he took part in the Salon des Beaux-Arts and the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group the previous year. In the following years Meifrèn submitted his works to numerous official exhibitions and competitions, including the National Exhibitions of Madrid and Barcelona, and was awarded third medals at the Paris Universal Exhibitions of 1889 and 1899, a silver medal at the Brussels Universal Exhibition of 1910, a grand prize at the Buenos Aires Universal Exhibition of the same year, a medal of honour at the San Francisco International Exhibition of 1915 and a grand prize at the San Diego Exhibition the following year. He also won the Nonell Prize in Barcelona in 1935. In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palau de la Virreina. His initial landscapes, characterised by an academic and romantic concept, would later evolve towards an impressionist language; having abandoned Romanesque preciosity, his would be a technique of loose brushstrokes and a clear palette, in which the luminous conception approached symbolist premises, within the orbit of Modesto Urgell. He is currently represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
Lot 36
Spanish school, 20th century. Following models by KARL HAGENAUER (1898-1956)Bronze.Measurements: 57 x 46 x 6 cm.In this bronze sculpture, the author wanted to express the extreme lightness that the dancer's body assumes, giving it a filiform canon. The long open arms seem about to take flight and the slender legs form a triangle in the air, supporting the body in perfect equilibrium on the tip of one foot.The son of the goldsmith Carl Hagenauer, Karl studied at the Vienna School of Arts and Crafts, where he was taught by Josef Hoffmann and Oskar Strnad and imbued with the spirit of the Wiener Wekstätte. After obtaining his diploma in architecture, he did military service between 1917 and 1919, and on his return he began to work as an architect and in his father's studio. During these years he created numerous pieces in silver, brass, copper, enamel, ivory, stone and wood. In 1928, after his father's death, he took over the management of the workshop and was responsible for the expansion of the firm, extending production to cabinetmaking and opening shops in Vienna and Salzburg. Since then he has exhibited his best pieces both in Austria and abroad, was twice awarded the gold medal at the Milan Triennale and was made a member of the Austrian Werkbund and the Werkstätte. His works are now in collections all over the world, including the Victoria & Albert Museum in London, the MoMA and the Jewish Museum in New York, the Casa Lis in Salamanca and many others.
Lot 146
JOAN ROIG SOLER (Barcelona, 1852-1909)."Fishermen's House on the Catalan Coast".Oil on canvas.Signed in the lower right corner.Measurements: 44 x 64 cm; 67 x 87 cm (frame).Joan Roig captured in repeated occasions, coastal images that were close and known to him, revealing the lyricism of the daily work of the fishermen, or simply, capturing with his penetrating glance the Mediterranean light impregnating every corner of the coast, as in this peaceful landscape of a Catalan village. Here he shows a special sensitivity to light and atmosphere, and a treatment of range and matter with an Impressionist heritage.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.
Lot 6
EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873)."Sketch of the Death of Lucretia".Oil on canvas.Attached certificate issued by Don Eduardo Rosales, great-grandson of the artist.It presents slight restorations.Measurements: 41 x 62 cm; 57 x 73,5 cm (frame).In 1871, Eduardo Rosales showed his painting entitled "The Death of Lucretia" at the National Exhibition, with which he won the first medal. This piece, which now belongs to the Museo del Prado collection, differs to some extent from this sketch, although it should be noted that the artist prepared numerous compositions in order to achieve a work that could win the medal. In both pieces we can see the artist's interest in setting the scene in an intimate atmosphere. The piece, as the Prado Museum points out, shows "The suicide of the Roman patrician Lucretia after being raped by the son of the king of Rome; an episode that would bring about the end of the monarchy and the proclamation of the Roman Republic in 510 BC and which would be widely disseminated from Neoclassicism onwards as a prime example of virtue and marital fidelity".Born into a humble family, Eduardo Rosales was trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, from his earliest works we can recognise a personal style that tends towards a monumental, historicist but at the same time synthetic style, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official exhibitions.
Lot 29
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Interior courtyard".Watercolour on paper.With dedication by Gonzalo Bilbao to his mother.Size: 27 x 20 cm; 45 x 35 cm (frame).Encouraged by José Jiménez Aranda, Gonzalo Bilbao started drawing as a child. At his father's request he began to study law, which he alternated with artistic training. After graduating in law in 1880, he devoted himself exclusively to painting. He travelled with Jiménez Aranda to Italy and France, and in Paris he visited museums, galleries and the studios of French artists. He remained in Italy for three years, living in Rome, where he worked with the painter José Villegas Cordero. He returned to Spain in 1884 and travelled around the country in search of new landscapes to paint, as well as alternating stays in Morocco, Paris and Munich. From 1903 he taught at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville, where his pupils included Vázquez Díaz and Eugenio Hermoso, among others. He won numerous medals in both national and international competitions, including the sole medal at the Universal Exhibition in Chicago (1893), the first medals at the National Fine Arts Exhibition (1899, 1901; of honour in 1915), the gold medal at the Berlin International (1899), and the first medals at the International Exhibitions in Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). The bulk of Gonzalo Bilbao's work is currently housed in the Museo de Bellas Artes in Seville.
Lot 91
GUSTAVO BACARISAS (Gibraltar, 1873 - Seville, 1971)."Lady with a Fan in the Albaicín", 1922.Oil on canvas. Relined.Attached certificate of authenticity issued by Doña Elsa Jernas, the artist's widow.Work reproduced in the catalogue; Gustavo Bacarisas (1873-1971), Anthological Exhibition. Seville Palacio Mudejar, 1972.Provenance: Elsa Jernas.Preserves early 20th century frame.Measurements: 100 x 80 cm; 118 x 98 cm (frame).In this work the artist represents a seated girl, holding a fan and looking at the spectator with a broad smile. The young woman is set in a landscape depicting a nocturnal view of Aracena (Huelva). This portrait, which has a costumbrista heritage, is dominated by the presence of blue, which was a characteristic tone in Bacarisas's painting, to such an extent that it became one of his personal hallmarks, thus approaching a more symbolist and Noucentist aesthetic trend. This work reveals all the pictorial aspects that defined the painting of Bacarisas, who was one of the most important painters of the early twentieth century: the aforementioned blue tone, the nocturnal landscape for which he felt a predilection and the figure of women with Flemish features were indisputable hallmarks of his lyrical and joyful painting.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training on a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913). As a Briton, he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
Lot 14
JOAN ROIG SOLER (Barcelona, 1852-1909).Vista de pueblo" ("Village View").Oil on canvas.Signed in the lower right corner.Size: 70 x 50 cm; 95 x 75 cm (frame).With his characteristic Mediterranean palette, Roig Soler captures the simple beauty of a corner of a village, with the warm lights glimmering on the old walls, skirting arches, stairs and narrow streets.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the Third Medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Zaragoza Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.
Lot 31
JOAN GIL I GIL (Barcelona, 1900-1984)."Dancer".1946.Oil on canvas.Signed and dated in the lower left corner.Losses in the frame.Measurements: 100 x 80 cm; 120 x 101 cm (frame).Joan Gil began his training in Paris, to continue later at the Sant Jordi School of Fine Arts in Barcelona, where he later became a teacher. From 1924 onwards he took part in various group exhibitions, as well as in official competitions and contests, and was awarded prizes at the National Exhibitions of Barcelona in 1941 (third medal) and 1944 (second medal). He held his first individual exhibition in 1925 at the Galerías Layetanas. He exhibited there again in 1931, later exhibiting in many other galleries in Barcelona. In 1975 he held his last exhibition at the Gaudí gallery. Specialising in landscapes, portraits and dance themes, he cultivated a realistic language of Impressionist heritage, characterised by a special sensitivity for colour and light. Works by Joan Gil are kept at MACBA and at the Institut del Teatre.
Lot 220
First and Second World War medal group awarded to T.H. Hulland, Able Seaman Royal Navy comprising; George V Naval Long Service and Good Conduct Medal (J.21041 T.H. HULLAND A.B. HMS VIVID), War Medal, Victory Medal, 1914-15 Star (J.21041 T.H. HULLAND A.B.R.N.), 1939-1945 War Medal, The 1939-1945 Star, The Atlantic Star, The Africa Star, The Pacific Star and The Italy Star, together with ribbon bars
Lot 31
Hallmarked Sterling silver medal, a sterling silver circular brooch stamped Sterling, filigree white metal brooch, a pair of cased crocodile skin cufflinks and a collection of other cufflinks, keyring containing a number of vacant fobs, a watch strap with link stamped 1/10 12K, a collection of pins and badges
Lot 1301
A Pair of Military Medals Awarded To Bandmaster E M Rogers Lancashire Fusiliers Army L.S & G.C. E VII.R (4451 Bandmaster, Lan. Fus.) suspension missing; Army Meritorious service medal, G.V.R, 3rd issue, coinage head (Bandmaster Lan. Fus.) good very fine except where stated (2) Footnote M.S.M A.O 10/1933 L.S. & G.C.A.O. 10th January 1903, without gratuity. Edward M. Rogers was born in London and enlisted under alias of Manley Rogers at Aldershot on March 15th 1877, aged 15 years, 11 months. He served over seas in Malta, Gibraltar, Crete and Egypt, serving with the 1st Battalion Lancashire Fusiliers except for a short period with the Leinster Regiment, 1890-93 He went to the R.H.M. School for military music in 1904 and retired from regular service in 1907. sold with some copied research details.
Lot 1309
Korean War Group of Medals ( Trio ) Awarded to J.F. Gilbert. Comprises 1/ Royal Navy Long Service and Good Conduct Medal with Ribbon, RMB X 2411 Musn, J.F.Gilbert - R.M H.M.S Condor. 2/ Korea Medal with Ribbon and Bar for Service In the Defence of the Principles of the Charter of the United Nations. 3/ Korea Medal 1950 - 1953 with Ribbon and Clasp, R.M.B / X 2411 J.F. Gilbert, Musn. R.M.
Lot 1316
World War I - Naval ( British ) Group of Military Medals ( 4 ) Awarded to Henry Benjamin Smith, Musician R.M.B of H.M.S St Vincent, Battleship 1st Battle Squadron at Jutland. Comprises 1/ R.M.B 1569 B.H.Smtih, BD CPL HMS Adventure. 2/ R.M.E 1569 Mus BH Smith. 3/ World War I Civilisation Medal, R.M.B Mus B.H. Smith. 4/ 1914 - 1915 Military Medal Star, R.M.B Mus 1569, B.H Smith + Documents of the Jutland Crew Lists, For H.M.S St Vincent Showing, Smith Benjamin Henry Musician R.M.B 1569 As a Crew Member + Medal Dated May 31 - 1916. Commemorating The Battle of Jutland and the Defeat of the German Fleet.
Lot 1086
A selection of various Chaplain's badges of the World including US Navy Chaplain's Corps, United States Army Chaplain, New South Wales Police Chaplain, Australian Navy Chaplain's shoulder board, 12th Armoured Brigade shield presented to Father Michael Reynolds 1990, Royal Army Chaplain's Department epaulette, shoulder titles, American Legion Chaplain's medal and miniature, etc
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