Madrid - Figurative Paintings

Figurative, minimalist, human figure, portrait , neo cubist

JOAQUÍN DOMÍNGUEZ BÉCQUER Spanish, 1817 - 1879 OUTSIDE THE TAVERN signed, located & dated "Joaq. D. Becquer. Sevilla 1849." (lower right) oil...

"Ciruelas / Plums". Contemporary, Realism, food, figurative, hyperrealism, photorealim

Figurative, abstract, geometric, objetcs, natural materials

CELSO LAGAR Spanish, 1891 - 1966 LES ROULOTTES signed "Lagar" (lower left) oil on wood panel 9-1/2 x 13 inches (24 x 33 cm.) framed: 17-1/8 x 21-1/2 inches (43.5 x 54.5 cm.) PROVEN...

Hand signed by artist "All you need". Figurative, Human figure, Realism, oil on canvas, feminist

JOAQUÍN DOMÍNGUEZ BÉCQUER Spanish, 1817 - 1879 RIDERS PASSING BY A TAVERN signed, located & dated "Joaq. D. Becquer. Sevilla, 1847." (lower l...

Figurative, minimalist, human figure, portrait , neo cubist

Contemporary, realism, figurative, oil, landscapa, waterscape, pastel colors, earth colors

Contemporary, Pop, Surrealistic, Figurative, Nude

Contemporary, Pop, Surrealistic, Figurative, Nude

Contemporary, Pop, Surrealistic, Figurative, Nude

Contemporary, realism, figurative, oil, landscapa, waterscape, pastel colors, earth colors

Contemporary, realism, figurative, oil, landscapa, waterscape, pastel colors

Contemporary, realism, figurative, oil, landscapa, waterscape, pastel colors, earth colors

Figurative, abstract, geometric, objetcs, natural materials

Impresionist woman figure

"Sandía / Watermelon". Contemporary, Realism, food, figurative, hyperrealism, photorealim

Contemporary, realism, figurative, oil, landscapa, waterscape, pastel colors, earth colors

Impresionist woman nude figure

MAX RABES German, 1868 - 1944 AN ORIENTALIST SCENE WITH MUSICIANS AND DANCER signed "Max Rabes" (lower right) oil on canvas 65 x 77-1/2 inches (164.5 x 197 cm.) framed: 70-2/3 x 8...

"Dancer". Contemporary, Realism, figurative, expresionism, impresionism, human figure, nude

Impresionist woman nude figure

Hand signed by artist "Bucket". Figurative, Realism, still life, oil on canvas

Impresionist woman figure

"Alma Negra". Contemporary, Realism, figurative, expresionism, impresionism, human figure, nude

Impresionist cityscape from Albarracín, Spain

"Ranas / Frogs". Contemporary, Realism, animal, figurative, hyperrealism, photorealim

Impresionist cityscape from Cuenca, Spain

Impresionist cityscape from Lliria, Valencia, Spain

Hand signed by artist "Glass and dried flowers". Figurative, Realism, still life, oil on panel

Impresionist landscape and waterscape from La Albufera, Valencia, Spain

Impresionist landscapes

Hand signed by artist Antinoo. Figurative, Human figure, Realism, surrealistic, mythology, acrylic and oil on panel

A large oil painting presents a classical sculpture, focusing only on the head and shoulders. In the center of the composition, the face of the sculpture appears pixelated, concealed...

The artwork depicts the architecture of a temple using a warm monochrome palette, which intensifies the contrast with the colorful motif within. In the center of the composition, an ...

"Writings I" is a work that invites reflection on the nature of writing and the human creative process. With a vertical format divided into two distinct parts, the painting displays ...

The work presents a woman on her back, sitting on the ground on a checkerboard in shades of gray, black and white. The female figure, painted in grisaille, contrasts with the underly...

Lemnia II is a piece that evokes the ancient majesty of the sculpture of Athena Lemnia, an iconic work created by Phidias in the 5th century B.C. that once stood on the Acropolis of ...

The artist has divided the image into three vertical bands, reminiscent of a flag, where each section represents a distinct and autonomous reality. On the left, against a vibrant cri...

In this canvas the author invites us to explore an inner world that transcends the mere physical representation of an architectural space. In the center of the composition, an imposi...

"Theories II" is a surrealist work that explores human theories through time. In the center, two heads of classical sculptures emerge against a divided background. The head of Dionysus, in earthy tones, projects a vision that distorts reality, symbolizing man's illusory perspective. From this vision emerge colorful forms that converge towards a floating book...

In this small painting I try to enter into the serenity of a private moment of literary contemplation. The work focuses on the essence of the instant, capturing the magic of a woman ...

EMILIO GRAU SALA Spanish, 1911 - 1975 ESPAGNOLES, 1971 signed "Grau Sala" (lower left) signed again, dated and titled "Grau Sala, 1971, espagnoles" (on the reverse) oil on canvas 1...

EMILIO GRAU SALA Spanish, 1911 - 1975 PLAGE DE TROUVILLE signed Grau Sala (lower left) signed again, located & dated "Grau Sala, Trouville, 1953" on the reverse oil on canvas 15 X 24 inches (38 X 61 cm.) framed: 24-1/2 X 33-3/4 inches (62.5 X 85.5 cm.) PROVENANCE Private French Collection Emilio Grau Sala came from a family of artists. He was born in Barcelona in 1911 and his father, a good cartoonist, had been one of the promoters of the "Salon des Humanistes" and made his exhibitions normally in the Parés Hall. His first works were exhibited at the Salon des Independents, in the years 1930-33. Grau Sala was essentially a Mediterranean painter, son of post-impressionism and enriched with French painting of the last fifty years. Grau Sala lived and absorbed all the avant-garde movements that broke through in Paris, but never adhered to any. Creating your personal style. His pictorial lyricism and naturalism superimposed the evotative and sensitive quality of the image to any other concern. In 1953 Grau Sala spends his first summer in Honfleur becoming one of the most active Honflerian painters. Honfleur forms a coast triangle next to Deauville and Trouville, and in that August of 53, Grau Sala pinto is an elegant beach, which at that time met French and European high society. His works can be found in the Museums of the Villa de Paris, L'Ile de France Museum, at the Château de Sceaux, Honfleur Museum, La Rochelle Museum, Barcelona Museum, Tossa de Mar...

JUAN GIMÉNEZ MARTÍN Spanish 1855 - 1901 THE MANDOLIN SERENADE signed & located "Gimenez-Martin, Roma" lower left watercolour on cardboard 21-1/4 x ...

ANTONIO REYNA MANESCAU Spanish, 1859 - 1937 VENETIAN CANAL signed & located "A. Reyna, Venezia" (lower left) oil on canvas 11-1/2 x 19-3/4 inche...

FRANCISCO BORES Spanish, 1898 - 1972 JOURNÉE CLAIRE signed and dated "Borès 34" (lower left) oil on canvas 18 x 15 inches (46 x 38 cm.) framed: 26 x 23 inches (66 x 58 cm.) BIBLIOGRAPHY: Francisco Bores, Reasoned Catalogue, Volume I - Painting 1917-1944, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2003, nº 1934 / 15, reproduced in p. 231 PROVENANCE Private Collection, Madrid Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado, and in the literary gatherings in Madrid related to ultraism. At this time he made engravings and woodcuts for a large number of magazines such as Horizonte, Cruz y Raya, Index, Revista de Occidente. In 1922 he participated in the National Exhibition of Fine Arts. In 1925 he participated in the first exhibition of the Iberian Artists Society. The limited success of this exhibition pushes him to go to Paris. In this city he shared a studio with the Spanish painter Pancho Cossío and also met Picasso and Juan Gris. In 1927 he held his first solo exhibition in Paris. From this moment on, Bores integrates himself into the Parisian artistic environment where he will live practically his entire life. In 1928, his first exhibition in a gallery in the United States, in 1930 he exhibited again, within a group exhibition at the Museum of Modern Art in New York. In the following years, he continued exhibiting in different galleries in Paris, such as the Georges Petit Gallery, the Bernheim Gallery and the Vavin Raspail Gallery. He also participates in several group exhibitions, highlighting the Exhibition of Contemporary Spanish Art...

ROGELIO DE EGUSQUIZA Y BARRENA LADY IN YELLOW signed "R. Egusquiza" (lower right) oil on panel 28-5/8 X 20-3/4 inches (72.5 X 52.7 cm.) framed: 32-5/8 X 24-3/4 inches (82.5 X 62.5 cm.) Rogelio de Egusquiza y Barrena (1845 – 10 February 1915) was a Spanish painter, known for his friendship with the German composer Richard Wagner, whose works he helped make familiar in Spain He was born in El Astillero, into a well-to-do family. He studied in Madrid and with Léon Bonnat at the École des Beaux-Arts in Paris. In 1868, after travelling and participating several times in the National Exhibition of Fine Arts, he returned to Paris and settled there. At first, he painted historical scenes, but later turned to genre scenes and portraits in the Academic style. Following the death of Marià Fortuny, he moved to Rome at the invitation of the Madrazos, Raimundo and Ricardo, taking Fortuny's place at their studio through 1875 and attending classes at the Spanish Academy in Rome. He heard Wagner's music for the first time in 1876, after returning to Paris. Three years later, he travelled to Munich to hear a performance of The Ring of the Nibelungen. His enthusiasm for what he heard led him to go to Bayreuth, where he introduced himself to Wagner and became his friend. In the following years, he and Wagner got together again several times; in Venice (1880), Berlín (1881) and Bayreuth (1882); where he was a guest at the premiere of Parsifal. After his first meeting with Wagner, he decided to devote his career to doing works on Wagnerian themes; mostly portraits of the characters rather than specific scenes. During his visits to Germany, he also created portraits of Arthur Schopenhauer (posthumous) and King Ludwig II...

SPANISH SCHOOL, 19th CENTURY ARTIST UNKNOWN oil on canvas 10-1/2 x 7-5/8 inches (26.5 x 19.3 cm.) framed: 15-1/2 x 12-1/2 inches (39 x 31.5 cm.) PROVENANCE Spanish Collector, Madrid...

FRANCISCO BORES Spanish, 1898 - 1972 LES FUMEURS signed & dated "Borès 35" (lower right) titled in pencil "Les Fumeurs", unfinished sketch (head), signed & dated "Bores 36" (on the reverse) oil on cardboard 10-5/8 x 13-3/4 inches (27 x 35 cm.) framed: 15-1/2 x 18-1/2 inches (39.5 x 47 cm.) NOTE: THIS WORK IS ACCOMPANIED BY A CERTIFICATE OF AUTHENTICITY ISSUED BY “ARCHIVO FRANCISCO BORES”. BIBLIOGRAPHY: Francisco Bores, Reasoned Catalogue, Volume I - Painting 1917-1944, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2003, n° 1935 / 49, reproduced in color p. 281 PROVENANCE Carmen Bores Collection, Francisco Bores daughter Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz...

FRANCISCO BORES Spanish, 1898 - 1972 SANS TITRE signed and dated "Borès 42" (lower left) oil on panel 13-3/4 x 10-5/8 inches (35 x 27 cm.) framed: 19 x 15-3/4 inches (48 x 40 cm.) BIBLIOGRAPHY: Francisco Bores, Reasoned Catalogue, Volume I - Painting 1917-1944, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2003, nº 1942 / 63, reproduced in p. 494 PROVENANCE Carmen Bores Collection, Francisco Bores daughter Private Collection, Madrid Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado, and in the literary gatherings in Madrid related to ultraism. At this time he made engravings and woodcuts for a large number of magazines such as Horizonte, Cruz y Raya, Index, Revista de Occidente. In 1922 he participated in the National Exhibition of Fine Arts. In 1925 he participated in the first exhibition of the Iberian Artists Society. The limited success of this exhibition pushes him to go to Paris. In this city he shared a studio with the Spanish painter Pancho Cossío and also met Picasso and Juan Gris. In 1927 he held his first solo exhibition in Paris. From this moment on, Bores integrates himself into the Parisian artistic environment where he will live practically his entire life. In 1928, his first exhibition in a gallery in the United States, in 1930 he exhibited again, within a group exhibition at the Museum of Modern Art in New York. In the following years, he continued exhibiting in different galleries in Paris, such as the Georges Petit Gallery, the Bernheim Gallery and the Vavin Raspail Gallery. He also participates in several group exhibitions, highlighting the Exhibition of Contemporary Spanish Art...

JOSÉ GALLEGOS Y ARNOSA Spanish, 1857 - 1917 CORO DE MONAGUILLOS ENSAYANDO signed, located and dated "JGallegos / Roma 1883" (lower right) oil on...

ENRIQUE ATALAYA Spanish, 1851 - 1913 BELEM´S TOWER, LISBON signed "ATALAYA" (lower right) oil on wood panel 6-1/4 x 8-1/8 inches (15.8 x 20.5 cm.) fram...

"Emblem I" is a small format work that captivates with its intensity and visual symbolism. At the heart of the composition, a rampant lion's head emerges majestically, framed by a ci...

Our Mysteries is a diptych in oil on linen, where symbolism and texture come together to evoke deep emotions. With its panoramic dimensions of 200x81 cm, this work unfolds across two...

XAVIER VALLS Spanish, 1923 - 2006 CALELLA DE PALAFRUGUELL signed "X. Valls." (lower right) signed again, numbered, dated & titled "X. Valls. / VIII Horta ...

ANTONIETTA BRANDEIS Czechoslovakian, 1848 - 1926 FLORENCE´S BRIDGE signed "ABrandeis" lower right oil on canvas 10-3/5 x 14-4/5 inches (27 x 37.5 cm.) unframed PROVENANCE Private Collection, Barcelona Antonietta Brandeis (also known as Antonie Brandeisová) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces. She was born on January 13, 1848, in Miskovice (near Kutná Hora) in Bohemia, Austria-Hungary.[2] The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javůrek of Prague.[3] After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy. Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective. Already during her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students of the Academy “Elenco alunni premiati Accademia Venezia in Atti della Reale Accademia di Belle Arti in Venezia degli anni 1866-1872”.[4] It includes numerous mentions of prizes and high honours won by Brandeis in Art History, Perspective, Life Drawing, Landscape and Anatomical Drawing, Drawing of Sculpture, and “Class of Folds”. It is in Venice at the Academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”. In 1870, while still a student at the Academy, she participated in her first exhibition; that of the Società Veneta Promotrice di Belle Arti with the oil painting Cascina della Madonna di Monte Varese. She is documented as having exhibited eight paintings during the years 1872 to 1876 with the Società Veneta Promotrice di Belle Arti, both landscapes and genre scenes. In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work (particularly the English and German visitors to Italy on the Grand Tour circuit). During these same years, she showed two paintings in the Florentine exhibit Promotrice Fiorentina. The first painting, entitled “Gondola” is a subject which she repeats in new variations throughout her career with great success. The second, perhaps a genre painting, is entitled “Buon dì !” The two paintings remained unsold and were presented at the same exhibition the following year, together with two more genre scene paintings. In 1876 and 1877 she exhibited three landscapes of Venice at the Promotrice Veneta, which sold to foreign collectors. In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest. In both Florence and Budapest, Brandeis showed her work under the name “Antonio Brandeis”. The biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism; she took the criticism, but when she was praised as a woman she was annoyed, and therefore exhibited under the name Antonio Brandeis.” During the years 1878 to 1893 Brandeis painted and exhibited numerous works, primarily scenes of Venice, and although she resided chiefly in that city she also traveled and painted in Verona, Bologna, Florence, and Rome. As well as in Venice and Florence, she exhibited in Turin, Milan, and Rome. In 1880 she was present at the International Exposition of Melbourne with three paintings: Palazzo Cavalli, A Balcony in Venice and The Buranella- native of Burano Island near Venice. Brandeis was a prolific painter, and often replicated her most popular subjects with only slight variations. She was represented in Venice at the photographer Naya’s studios in Piazza San Marco and in Campo San Maurizio and in Florence she collaborated with the picture dealer Giovanni Masini. During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis also is documented in De Gubernatis as a painter of religious altarpieces. Several of these altarpieces can be found on the Island of Korcula in Croatia. Two are visible in the parish church of Smokvici and of in the church of St. Vitus in Blato. In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she also painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa (1488). In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro. The couple continued to reside in Venice and Brandeis continued to show at Italian exhibitions in Venice, Florence, and Rome although more sporadically and with fewer works than before. Although she participated in the International Exposition of Watercolourists in Rome in 1906 with a “Study” and in the Società Promotrice delle Belle Arti in Florence in 1907 and 1908 with two oil paintings, De Gubernatis quotes Brandeis as saying in 1906, that even though she resides in Venice “I am a foreigner, and for some time I have not taken part in Italian Exhibitions, sending all my paintings to London.[3] Antonio Zamboni died 11...

SEBASTIÁN LLOBET RIBAS Spanish, 1887 - 1975 signed "Llobet Ribas" (lower right) signed again "Llobet Ribas" (on the reverse) oil on canvas 32 x 25-3/4 inches (80.5 x 65 cm.) unframed PROVENANCE Private Collector, Barcelona Painter and draftsman of the twentieth century, born in Barcelona in 1887. He attended the Fine Arts Schools and was a disciple of Vicente Climent. He participated in the Self-Portraits Exhibition held in 1907, in the Drawing Exhibition in the Sala Parés in 1910, in several of the Spring and International Exhibition, and in the National Exhibition of 1942 and 1944 in Barcelona and in 1950 in Madrid. In the 1951 Exhibition of the Circulo de Bellas Artes de Palma de Mallorca, he obtained a medal for the set of drawings...

In this painting, a young woman seated at a rocking chair is shown absorbed in reading a book, capturing a moment of summer serenity. Depicted from the left side, it complements the ...