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Lot 11
JOSEP MESTRES CABANES (Manresa, Barcelona, 1898 - Barcelona, 1990)."Llafranch", 1943.Oil on panel.Signed and dated in the lower right corner. Signed, dated and located on the back.Measurements: 19.5 x 27.5 cm; 34 x 41 cm (frame).Painter and set designer, Josep Mestres Cabanes came from a family with a long artistic tradition. He began his studies at the School of Arts and Crafts in Manresa, and then furthered his training at the Sant Jordi School of Fine Arts in Barcelona, where he was taught by J. Calvo. He also studied in the studio of Salvador Alarma, with whom he became a collaborator and partner years later, with the firm Alarma y Mestres (1939). When Alarma died in 1942, he was commissioned to decorate several Wagnerian works for the Teatro del Liceo, and then moved to his scenographic workshop until 1956. His decorations stood out for their realism and good knowledge of perspective, and as an easel painter he held several exhibitions in Barcelona and Madrid. Between 1947 and 1969 he taught perspective at the Institut del Teatre in Barcelona, and was later appointed professor of the subject at the Escola de Sant Jordi. During his career he was awarded the silver medal of the Diputació de Barcelona, the gold medals of the city of Manresa and of the Societat del Gran Teatre del Liceu and the Gold Poster of the Consorci del Liceu. Although most of his work is in private collections, he is also represented in the Museo Comarcal de Manresa and in the Museo de Artes Escénicas del Instituto del Teatro in Barcelona, where an exhibition has recently been dedicated to him.
Lot 23
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Choir of Altar Boys".Oil sketch on hardboard.Signed in the lower right corner.Attached certificate of authenticity issued by Angel Sáenz Gallego.Measurements: 34,5 x 44 cm; 47 x 57 cm (frame).Gonzalo Bilbao represents in this work a choir of altar boys singing inside a temple. A painter of the city, this Sevillian painter recreated very beautiful genre scenes, such as religious functions, work scenes or popular amusements.Gonzalo Bilbao took up drawing as a child and began his career as a painter in 1880. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor 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 took part in numerous fine arts exhibitions, 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 took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, including prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
Lot 28
ENRIQUE MARTINEZ CUBELLS (Madrid, 1874 - Malaga, 1947)."Marina".Oil on canvas.Signed in the lower right corner.Size: 37 x 44 cm; 58 x 63 cm (frame).Son of the Valencian painter Salvador Martínez Cubells, he began his training in his father's workshop, to later continue his studies at the School of Arts and Crafts in Madrid and at the Special School of Painting, Sculpture and Engraving in the same city. His style was freed from his father's influence following a trip to Europe in 1898. His admiration for German modern art led him to settle in Munich for four years, followed by stays in Venice, Paris and Amsterdam. During his travels around Europe, Martínez-Cubells was greatly influenced by European realist trends, at a time when his Spanish contemporaries were still making history paintings. His personal style was characterised by bold, synthetic brushstrokes, in addition to his great interest in the luminous aspects. More Nordic and austere than his Spanish colleagues, his conception of light is restrained and intimate, far removed from the blinding force of Sorolla. On his return to Spain, he was appointed professor at the Schools of Arts and Crafts and San Fernando in Madrid. He took part assiduously in the National Exhibitions of Fine Arts, winning third medals in 1897, second in 1899 and 1901, and first in 1904 and 1912. The works that earned him these first medals were "Work, Rest and Family", in 1904, and "The Return from Fishing", in 1912. Subsequently, he was awarded a first medal at the Buenos Aires International Exhibition in 1910, as well as a grand prize at the Panama Exhibition in 1916. He later became a member of the Royal Academy of Fine Arts of San Fernando in Madrid. Between January and March 2003 Ibercaja presented the first anthological exhibition dedicated to this painter in Zaragoza. Enrique Martínez-Cubells worked mainly on genre themes with a social content, often of a fishing and maritime nature, although he also showed a predilection for urban landscapes, interiors and rural peasant scenes. He is represented in the Museo del Prado, the Museo Carmen Thyssen in Malaga and the Fine Arts Museums of Valencia, La Rioja, Malaga, Álava and San Sebastián, among others.
Lot 29
JEAN BAPTISTE FAUVELET (Bordeaux, 1819-Chartres, 1883)."The Lesson".Oil on panel.Signed in the lower right corner.Size: 20 x 16 cm; 43 x 39 cm (frame).French painter and lithographer and pupil of Pierre Lacour, Jean Baptiste Fauvelet made his debut at the Paris Salon of 1845, where he exhibited until 1870. He was awarded a 2nd class medal at the 1848 Salon. In this work Fauvelet reveals himself to be a remarkable draughtsman, with a precise and sure stroke, an aspect which is complemented by the delicacy of the chromatic intonation. A courtly interior, of a gallant type, is chosen by a lady for her daily lesson. The young woman writes in her notebook, which she rests on a high wooden table in front of a thick greenish curtain. Next to the table leg she rests a closed book. Attentive to the teacher's lesson, who remains out of sight, the woman lifts her head from the book and directs a somewhat melancholic, pensive gaze towards the horizon, which seems to convey a serene and reflective personality. The woman is wearing a voluptuous dress, with a red corset and a wide skirt.
Lot 40
RICARD MARTÍ AGUILÓ (Barcelona, 1868 - 1936)."Birds and flowers".Oil on canvas.Signed in the lower right corner.Measurements: 47 x 82 cm; 74 x 112 cm (frame).Ricard Martí trained at the Escuela de la Lonja in Barcelona and in the studio of his father, the painter Ramon Martí Alsina. He held several exhibitions and participated in group exhibitions, and took part in various artistic competitions, such as the 1929 Barcelona International Exhibition. He won a gold medal at the "Plants and Flowers" exhibition (1895), a bronze medal at the Barcelona Exhibition of 1896, and a second medal at the Spanish National Exhibition held in Mexico in 1910. He also taught drawing and painting in the town of Grecia. He specialised in painting still lifes and vases, but also produced portraits and marine paintings. He is currently represented in various private collections.
Lot 47
JUAN BAUTISTA PORCAR RIPOLLÉS (Castellón de la Plana, Castellón, 1889 - 1974)."Urban landscape".Oil on canvas.Signed in the upper left corner.Size: 27 x 35 cm; 39,5 x 47 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 60
JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937)."The Gambler".Watercolour on paper.Signed in the lower left corner.Size: 95 x 60 cm; 106 x 72 cm (frame).José Benlliure showed great skill in the instantaneous, almost photographic, capture of his characters, insinuating singular temperaments, like that of this card player. The brother of the sculptor Mariano Benlliure and the painter José, Juan Antonio Benlliure began his training with the latter. He subsequently entered the San Carlos Academy in Valencia, where he furthered his studies and began to stand out as a portraitist. Like many of the artists of his time, he continued his artistic education in Rome. There he settled with his brother José, and began to paint brightly coloured canvases that would bring him renown as well as a good price for his work. In 1884 he took part in the National Exhibition of Fine Arts in Madrid, where his painting "Por la patria! The drawing and colouring of this work already began to reveal the finesse of execution that would characterise his work in the future. Other Valencian artists also took part in this competition, and Benlliure's success spread not only among the artistic and literary circles but also among the upper echelons of society, and he began to receive numerous commissions both in Madrid and in Rome, where he had also begun to frequent the circles of high society. For a brief period he lived in the Italian town of Assisi, where he produced several watercolours depicting the history and landscape of the city. It was during these years that the death of King Alfonso XII made a great impression on him, leading him to consider painting a picture depicting the king's final moment. His friend the Marquis of Togores, Spain's ambassador in Rome, encouraged him to carry out the work, as did his brothers. Benlliure then began work on "The Last Kiss". Presented at the National Exhibition of 1887, it was not awarded a prize due to political circumstances, but it became very famous due to its subject matter and the detailed evocation of the scene. In 1904 Benlliure settled permanently in Madrid, where he achieved great prestige as a portraitist, especially for his female models. In 1929 he was awarded the silver medal at the Rome Exhibition, and in 1920 he was decorated at the National Exhibition in Madrid. He also exhibited at the Sala de Arte Suárez, where he was very well received by the public and critics. He is currently represented in the Museo del Prado, the Museo de Bellas Artes in Valencia, the Palacio de Pedralbes in Barcelona and the museums of Jaén and Málaga, among others, as well as in numerous private collections.
Lot 7
RICARDO MARTÍ AGUILÓ(Barcelona, 1868 - 1936)."Allegories of food".Series of four oil paintings on canvas.Signed with initials in the lower right-hand corner.Measurements: 137 x 65 cm; 153 x 82,5 cm (frame)Taking up a long tradition of western art that goes back to the Renaissance, Ricardo Martí here constructs four allegories represented by beautiful girls carrying out tasks related to each of the elements to be represented, in this case the most common types of food in Spain. The first canvas, which alludes to meat, depicts a slender female hunter in male clothing standing over a stream, holding various small game. The second depicts wheat in the form of a young mowing woman standing in front of a field planted with wheat. In the painting of fish, a girl dressed in simple clothes walks barefoot along the seashore, picking up small fish. Finally, we see a lady covered with a blue cloak, carrying various fruits in a basket and in her hand.Ricardo Martí trained at the Escuela de la Lonja in Barcelona and in the studio of his father, the painter Ramón Martí Alsina. He held several exhibitions and participated in group exhibitions, and took part in various artistic competitions, such as the Barcelona International Exhibition of 1929. He won a gold medal at the "Plants and Flowers" exhibition (1895), a bronze medal at the Barcelona Exhibition of 1896, and a second medal at the Spanish National Exhibition held in Mexico in 1910. He also taught drawing and painting in the town of Grecia. He specialised in painting still lifes and vases, but also produced portraits and marine paintings. He is currently represented in various private collections.
Lot 76
SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931)."Peasant's house".Oil on canvas.Signed in the lower right corner.Size: 81 x 40 cm; 96 x 55 cm (frame).From his earliest youth, Rusiñol was interested in the most remote Catalan landscapes, as is shown by the journey he made in a cart with Ramón Casas through different local villages, taking sketches from life of types and corners. This farmhouse, framed under a semicircular arch and standing at the end of a pebbled path, bears witness to this. Later on, the modernist artist did not cease to be interested in painting gardens and solitary corners, as in his series Jardines de España ("Gardens of Spain"). A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan Modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the germ of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". He exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.
Lot 84
LUIS JIMÉNEZ ARANDA (Seville, 1845 - Pontoise, France, 1928)."The seamstresses", Pontoise, 1913.Oil on canvas.Signed, dated and located in the lower right corner.Size: 85 x 58 cm; 105 x 80 cm (frame).Daily labors were enhanced by the attentive gaze of Jiménez Aranda, capable of extracting the magical pulse of a domestic instant like the one shown here. Two girls devote themselves to their work in an interior bathed by a diffuse light, sifted by the amber net curtain, whose shades impregnate the variety of garments scattered on their skirts.Luis Jiménez Aranda began his training at the hands of his brothers José and Manuel. He then continued his studies at the Academia de Bellas Artes Santa Isabel de Hungría in Seville, where his teacher was Eduardo Cano de la Peña. In 1867 he went to Rome to broaden his knowledge, and in 1876 he settled in Pontoise, near Paris, finally becoming a French citizen. Throughout his career he took part in various official exhibitions both in France and Spain, and was also awarded a prize at the Universal Exposition in Chicago (1893). He also took part in the Paris Salons and participated in the National Exhibitions of Fine Arts in Madrid, where he obtained an honorable mention in 1864 and first medal in 1892, with the work "La visita del médico". This same canvas earned him the great medal of honor at the Universal Exposition of Paris in 1889. He specialized in the historical genre, although he also made costumbrist works, always with a veristic style where the importance of the drawing stands out, as a result of the influence of his brother José. Luis Jiménez Aranda is represented in the Prado Museum, the Meadows Museum of the Southern Methodist University in Dallas and the Fine Arts Museum of San Francisco, among other institutions, as well as in various private collections.
Lot 92
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Landscape with houses".Oil on cardboard.Signed in the lower right corner.Size: 15 x 21 cm; 45 x 54 cm (frame).In small format paintings such as the one in question, Mir felt freer to experiment with bold language, reducing nature to its basic elements by means of an excellent handling of light and colour. By means of apparently chaotic touches applied with a rapid pulse, he reveals the pulse that beats beneath the forms.Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" (Safrà Group) with other colleagues to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). From 1897 he also frequented the artistic environment of "Els Quatre Gats", which helped him to mature in the compositional study of landscapes with figures in different planes of depth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. 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 gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. 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 pursuing 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 95
ANTONIO MUÑOZ DEGRAÍN (Valencia, 1840 - Málaga, 1924)."St Mark's Square in Venice.Oil on canvas.Signed in the lower left corner.Size: 24 x 33 cm; 49,5 x 58,5 cm (frame).Antonio Muñoz Degraín began studying architecture in his youth by his father's decision, although he soon abandoned it for painting. A student at the San Carlos Academy of Fine Arts in Valencia from the age of twelve, he was a disciple of the painter Rafael Montesinos, although his training was essentially self-taught. He took part assiduously in the National Exhibitions of Fine Arts from 1862 to 1915, and it was his successes in these competitions that would have a decisive influence on his artistic career. In 1862 he was awarded an honorary medal, third in 1864 and second in 1867 and 1871. In 1870 he was asked to decorate the Cervantes Theatre in Malaga and settled in the Andalusian capital for good. He married there and years later was appointed supernumerary professor at the San Telmo Royal Academy of Fine Arts (1879). At the Academy Muñoz Degraín taught a whole generation of artists, including the very young Picasso, who always showed him affection and respect. In 1881 the painter won a first medal at the National Competition with "Othello and Desdemona" (Museu do Chiado, Lisbon), which gave him a government pension to finally make his longed-for trip to Rome, also visiting several cities in Tuscany and Venice. In Italy he produced his great masterpiece, "The Lovers of Teruel" (Museo del Prado), one of the masterpieces of 19th-century Spanish painting, which he sent to the National Exhibition in Madrid in 1884, winning the first medal. From then on, his growing prestige brought him numerous honours and public rewards. He was made a Knight of the orders of Isabella the Catholic, Charles III and Alfonso XII, received the medal of honour at the National Exhibition of 1910 and in 1898, on the death of Carlos de Haes, was awarded the chair of landscape painting at the San Fernando Academy in Madrid. He was appointed a member of that institution the following year and its director in 1901. He was also president of the Círculo de Bellas Artes in Madrid. Muñoz Degraín also enjoyed notable success abroad, presenting his paintings at the Universal Exhibitions of Philadelphia (1876), Munich (1883) and Chicago (1893). He is currently represented in the Museo del Prado, the Museo de Bellas Artes in Valencia and others.
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