{"title":"Sacred and religious art","description":"\u003cp\u003eBrowse sacred and religious art for sale online in our selection of paintings, drawings, watercolours and prints. The collection brings together biblical scenes, figures of saints and views of churches and chapels from different periods: works to collect and enjoy for their subject matter and artistic interest. Each entry provides prices, photographs and the available information on technique, dimensions, authorship and condition. If you are looking for a particular scene or format, ask us about the works in the catalogue.\u003c\/p\u003e\u003cp data-taller-artists=\"collection\"\u003e\u003cstrong\u003eArtists with works in this collection:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/carbonell-rull-noies\"\u003eCarbonell — Rull (Noies)\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/david-mercade-recasens\"\u003eDavid Mercadé Recasens\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/guillem-fresquet-bardina\"\u003eGuillem Fresquet Bardina\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/heber-luis-gil\"\u003eHeber Luis Gil\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/lucas-lorenzo\"\u003eLucas Lorenzo\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/ricard-calvo-duran\"\u003eRicard Calvo Duran\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/antoni-carrera-karris\"\u003eAntoni Carrera «Karris»\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/antonio-santos\"\u003eAntonio Santos\u003c\/a\u003e.\u003c\/p\u003e","products":[{"product_id":"angel-ocallaghan-paisaje-panoramico-oleo-espatula-textura","title":"Ángel O’Callaghan Muñoz — Winter landscape with church and grove — Oil on panoramic canvas","description":"\u003cp\u003eA landscape constructed almost out of silence. Ángel O’Callaghan organises this broad horizontal composition through a succession of fields, paths and bare trees that lead the eye towards a small group of buildings dominated by a church.\u003c\/p\u003e\n\u003cp\u003eThe panoramic format is essential. Rather than concentrating the scene around a single motif, the painter allows the landscape to unfold laterally, like a view contemplated from a distance. On the right, the row of leafless trees establishes a regular vertical rhythm; on the left, vegetation and buildings gradually merge with the rising horizon.\u003c\/p\u003e\n\u003cp\u003eThe palette is deliberately restrained: light earth tones, ochres, greenish greys, off-whites and small yellowish nuances. In many areas, the canvas retains its visible texture, which the artist uses to bring the support into the painting and accentuate the sense of dry, cold light.\u003c\/p\u003e\n\u003cp\u003eThe architecture is not minutely described either. O’Callaghan reduces houses, walls and roofs to luminous masses, reserving more distinct lines for the bare trunks and branches. The result lies between naturalistic observation and a more atmospheric interpretation of landscape.\u003c\/p\u003e\n\u003ch3\u003eÁngel O’Callaghan Muñoz and landscape\u003c\/h3\u003e\n\u003cp\u003eThe documentation located identifies Ángel O’Callaghan Muñoz as a Spanish painter active in the second half of the twentieth century, specialising mainly in landscape.\u003c\/p\u003e\n\u003cp\u003eHis known work shows a marked preference for open spaces, fields, riverbanks and cold-season landscapes. Recurring features include muted colours, whites and earth tones, vegetation reduced to signs, and paint handling that allows the canvas itself to remain visually present.\u003c\/p\u003e\n\u003cp\u003eThis work closely reflects that language. Comparison with other documented paintings by the artist reveals clear similarities in both the signature and the treatment of vegetation, earth and broad stretches of landscape.\u003c\/p\u003e\n\u003ch3\u003eA composition conceived horizontally\u003c\/h3\u003e\n\u003cp\u003eThere is particular interest in the way the eye moves through the painting. The church is neither central nor presented as the principal monument. It is placed to one side and partly integrated into the village, as a natural part of the surrounding territory.\u003c\/p\u003e\n\u003cp\u003eIn front of it, the bare trees follow one another until they occupy almost half the canvas. This displacement creates a balanced relationship between architecture and vegetation, mass and line, horizon and foreground.\u003c\/p\u003e\n\u003cp\u003eThe absence of human figures reinforces the stillness. This is a landscape held in a particular season, probably during the winter months, rather than a narrative scene.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ángel O’Callaghan Muñoz.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Winter landscape with church and trees.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Oil on canvas.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 27 × 73 cm.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 44.5 × 90 cm.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “O’Callaghan” in the lower-left corner.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the twentieth century, probably c. 1970–1980.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Rural landscape with architecture and trees.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Panoramic.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003ePresentation:\u003c\/strong\u003e Period frame with a wide textile liner.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition, with signs consistent with age. The reverse retains the period mounting and protective backing. The photographs form part of the description of its condition.\u003c\/p\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note — Winter reduced to earth and light\u003c\/h2\u003e\n\u003cp\u003eWhat interests us in this work is not only the landscape itself, but the economy with which it is constructed. O’Callaghan avoids intense colours and strong contrasts: almost everything unfolds within a shared range of earth tones, greys and whites. The trees appear as dark lines against a luminous space; the houses seem to dissolve into the air, and even the sky shares tones with the ground. The result is a broad, quiet landscape in which atmosphere matters as much as place.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":51979162386765,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0192_35088e38-f73a-47a8-ba0d-31b0459c93ca.jpg?v=1792679099"},{"product_id":"ricardo-opisso-enterrament-poeta-iglesias-1928","title":"Attributed to Ricard Opisso — Funeral of the Poet Ignasi Iglésies (1928) — Historical drawing","description":"\u003cp\u003eA visual tribute to Barcelona in 1928: social observation takes the form of a personal elegy, recalling the world of Catalan Modernisme.\u003c\/p\u003e\u003ch2\u003eThe story behind the drawing\u003c\/h2\u003e\u003cp\u003eThe scene belongs to the cultural world of early twentieth-century Catalonia. Ricard Opisso (1880–1966) was a graphic chronicler of the Els Quatre Gats generation, while Ignasi Iglésies was a prominent social playwright and poet. The composition, attributed to Ricard Opisso, presents collective mourning as an intimate farewell.\u003c\/p\u003e\u003ch2\u003eThe handwritten note\u003c\/h2\u003e\u003cp\u003eA handwritten note on the reverse connects the scene with Iglésies's funeral in 1928 and records the following references.\u003c\/p\u003e\u003cp\u003eThe words “Ho va dibuixar plorant” (“He drew it while crying”) ascribe an emotional response to the draughtsman. The phrase forms part of the handwritten text on the reverse.\u003c\/p\u003e\u003cp\u003eThe crowd presents Barcelona society paying tribute. At the centre, rather than a coffin, the framed face of the poet becomes the focus of mourning.\u003c\/p\u003e\u003cp\u003eThe note also states: “L'unic retrat que existeix de l'enterrament” (“The only portrait that exists of the funeral”). This is transcribed as part of the inscription on the reverse.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Attributed to Ricard Opisso i Sala (1880–1966).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Funeral of the Poet Ignasi Iglésies.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1928, the date of the funeral depicted according to the note on the reverse.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Period ink drawing on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 31.5 × 57 cm. Frame: 54.5 × 79.5 × 2.5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e The inscription “Opisso” appears at the lower right. A historical handwritten note is present on the reverse.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Minor foxing spots consistent with age do not affect the integrity of the drawing. Supplied with the frame if desired.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe crowd is organised around the framed face of the poet, which acts as the scene's visual centre. The accumulation of figures concentrates the drawing's movement and contrasts with the stable presence of the portrait. On the reverse, the handwritten note adds the reference to the funeral and the phrases transcribed in the description.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52783994306893,"sku":null,"price":2200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0196_8753b6a4-a3cd-4b81-baf0-0ddd8393f433.jpg?v=1790820020"},{"product_id":"josep-rigol-fornaguera-apunte-de-avila-plaza-e-iglesia-de-las-vacas-dibujo-preparatorio-con-anotaciones-lapiz","title":"Josep Rigol i Fornaguera — Sketch of Ávila, Plaza de las Vacas — Pencil on paper, 20th century","description":"\u003cp\u003e\u003cstrong\u003eOriginal pencil drawing on paper by Josep Rigol i Fornaguera (Terrassa, 1897–1986)\u003c\/strong\u003e, depicting a corner of Ávila identified in the annotations on the sheet itself as the area around Plaza de las Vacas. The composition brings together a church, surrounding buildings and a stone cross in the foreground. Rather than a finished view, this is a working sketch in which the artist observes the relationships between these elements and explores their arrangement in space.\u003c\/p\u003e\n\u003cp\u003eThe drawing uses graphite strokes of varying intensity. The main lines define the architectural forms and volumes, while brief passages of shading and areas of untouched paper distinguish the different planes and suggest light. The foreground cross provides a visual reference and establishes a dialogue with the religious architecture in the background.\u003c\/p\u003e\n\u003cp\u003eA particularly interesting feature is the \u003cstrong\u003ehandwritten notes in Catalan\u003c\/strong\u003e accompanying the image. One has been read as an instruction to move the cross further to the right. These annotations show that Rigol was not simply recording the subject: he was also reconsidering its framing and composition. However, there is no documentation establishing that the sketch was actually used in preparation for a later oil painting or print.\u003c\/p\u003e\n\u003cp\u003eThe work illustrates drawing as a tool for observation and study, a particularly relevant aspect of Rigol’s career given his academic training, dedication to printmaking and long teaching career. The location is identified in accordance with the inscriptions associated with the work; it has not been verified through a conclusive topographical comparison.\u003c\/p\u003e\n\u003ch2\u003eAbout the artist\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eJosep Rigol i Fornaguera (Terrassa, 1897–1986)\u003c\/strong\u003e was a draughtsman, printmaker, painter and an important figure in art education and heritage conservation in Terrassa. He initially studied with Tomàs and Pere Viver and, supported by a grant from Terrassa City Council, entered the Real Academia de Bellas Artes de San Fernando in Madrid in 1922. Following his studies and artistic stays in Europe, he returned to Terrassa, where he spent much of his career teaching drawing.\u003c\/p\u003e\n\u003cp\u003eHe was president of Amics de les Arts and director of Terrassa’s School of Arts and Crafts between 1961 and 1979. Involved with local heritage for decades, he helped protect the churches of Sant Pere during the events of 1936 and supported the development of the Museu de Terrassa collections. His career was the subject of the monograph \u003cem\u003eJosep Rigol i Fornaguera: l'home, l'artista i el mestre\u003c\/em\u003e, published by the Museu de Terrassa in 2011.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Josep Rigol i Fornaguera (1897–1986).\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDescriptive title:\u003c\/strong\u003e \u003cem\u003eSketch of Ávila: Plaza and Church of Las Vacas\u003c\/em\u003e.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 20th century; no documented date is recorded in the catalogue entry.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMedium:\u003c\/strong\u003e Graphite pencil on paper.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 29 × 24.5 cm.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Signed “J. Rigol F.” at the lower right, with handwritten working notes.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCondition:\u003c\/strong\u003e Aged paper tone, three dark rectangular marks probably associated with earlier mounting materials, and irregular edges. The marks are visible and form part of the work’s current condition; no in-person conservation examination has been carried out.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\n\u003cp\u003eThe interest of this drawing lies both in its architectural subject and in its character as a working sketch. The written instructions alongside the image reveal a stage of the compositional process that usually disappears from finished works. The cross, church and handwritten corrections turn an urban view into a particularly immediate record of Josep Rigol’s drawing practice.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52803640066381,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/imagen_2026-10-18_021509892.png?v=1792282513"},{"product_id":"ricard-calvo-duran-roma-piazza-del-popolo-con-ciclista-ilustracion-urbana-tecnica-mixta-sobre-papel","title":"Ricard Calvo Duran — Rome: Piazza del Popolo with a Cyclist — Mixed media on paper","description":"\u003cp\u003eAn unusual view of the Eternal City, where Baroque monumentality gives way to a solitary urban cyclist.\u003c\/p\u003e\u003ch2\u003eHuman scale and history\u003c\/h2\u003e\u003cp\u003eIn this 1989 work, Ricard Calvo Duran takes us to the entrance of Rome's Piazza del Popolo. Rather than a crowded square, he presents an almost metaphysical emptiness dominated by the balanced forms of the twin churches, Santa Maria in Montesanto and Santa Maria dei Miracoli.\u003c\/p\u003e\u003ch2\u003eLine and atmosphere\u003c\/h2\u003e\u003cp\u003eThe drawing recalls architectural illustration and the European ligne claire tradition. Ink defines columns, domes and entablatures with precision.\u003c\/p\u003e\u003cp\u003eThe atmospheric watercolour sky uses brownish and grey tones instead of conventional Mediterranean blue, suggesting humidity and a melancholy mood.\u003c\/p\u003e\u003cp\u003eA cyclist in a vivid pink shirt interrupts the solemnity of the stone architecture. This solitary figure in the foreground introduces movement and a human counterpoint to the monumental setting.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ricard Calvo Duran, signed “Calvoduran”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Rome: Piazza del Popolo.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1989, dated beside the signature.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Mixed media on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 42.5 × 52.5 cm. Frame: 54.5 × 62 × 5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Handwritten in ink in the lower central area, with the place inscription “Roma”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. The paper retains its original whiteness in the margins and the colours remain fresh.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection period:\u003c\/strong\u003e 30-day return period to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eRome is a noisy, busy city, but Calvo Duran seems to turn down the sound. With traffic and crowds removed, we are left with the architecture and a single cyclist. The scene becomes a visual pause, suggesting a Rome seen early in the morning or imagined by the artist.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52817072521549,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0365.jpg?v=1790857359"},{"product_id":"ricard-calvo-duran-costumbrismo-italiano-en-asis-ilustracion-urbana-tecnica-mixta-sobre-papel","title":"Ricard Calvo Duran — Everyday Life in Assisi — Mixed media on paper","description":"\u003cp\u003eA contrast between sacred architecture and lively everyday movement on two wheels.\u003c\/p\u003e\u003ch2\u003eThe sacred and the everyday\u003c\/h2\u003e\u003cp\u003eMade in 1990, this work places us before the Basilica of Saint Francis of Assisi, a major pilgrimage site. Calvo Duran gives the scene a touch of humour through a nun riding a classic Vespa in the foreground. Long-established tradition and practical modern life share the same space.\u003c\/p\u003e\u003ch2\u003ePrecision and atmosphere\u003c\/h2\u003e\u003cp\u003eThe clear-line style is close to editorial illustration. Detailed ink drawing describes the Gothic and Romanesque architecture of the complex, from the bell tower to the lower arches.\u003c\/p\u003e\u003cp\u003eA blue sky outlines the basilica's cream-coloured stone, creating a theatrical contrast.\u003c\/p\u003e\u003cp\u003eThe composition leads from the monumental background to the small everyday event in the foreground. Parked cars of the late 1980s and groups of walking friars add a sense of period and social setting.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ricard Calvo Duran, signed “Calvoduran”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Scene at the Basilica of Saint Francis of Assisi.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1990, dated beside the signature.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Mixed media on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 32 × 39 cm. Frame: 53.5 × 60.5 × 5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Handwritten in ink at the lower right, with the place inscription “Assisi”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. Vibrant colours and paper in excellent condition.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection period:\u003c\/strong\u003e 30-day return period to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe nun on the Vespa introduces everyday movement in front of the basilica's mass. Cars and groups of friars distribute small scenes across the square. The precise drawing of the arches and bell tower contrasts with the lightness of the foreground narrative.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52817239212365,"sku":null,"price":155.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0405_dfef902f-4ffe-4911-bf55-a0e5742fb5c3.jpg?v=1790858014"},{"product_id":"jose-luis-barcelona-oleo-original-sagrada-familia-bruma-gaudi","title":"José Luis Barcelona — Sagrada Família in the Mist — Oil on panel","description":"\u003cp\u003eA dreamlike view of Barcelona's landmark, where heavy stone architecture becomes a vision wrapped in mist.\u003c\/p\u003e\u003ch2\u003eThe partially hidden monument\u003c\/h2\u003e\u003cp\u003eRather than describe the façades of Gaudí's Sagrada Família in detail, José Luis Barcelona submerges the church in dense mist. Only the characteristic pinnacles and three-dimensional cross emerge. The resulting view is intimate and dreamlike, with the concealed architecture inviting the viewer's imagination.\u003c\/p\u003e\u003ch2\u003eAtmosphere, colour and movement\u003c\/h2\u003e\u003cp\u003eTextured palette-knife work and lively brushstrokes in blue-grey tones suggest humid, dense air. Against this cool palette, a warm coral accent marks the centre of the cross.\u003c\/p\u003e\u003cp\u003eSeagulls in the foreground interrupt the monument's stillness. Thick white impasto gives them relief, depth and scale, bringing lightness and flight in contrast to the partly hidden stone.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e José Luis Barcelona.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Sagrada Família in the Mist (Dreamlike Urban Landscape).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the 20th century.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Textured oil on panel.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 26 × 21 cm. With frame: 45 × 40 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Signed “José Luis Barcelona” at the lower left. Identification plaque on the mount.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Secondary art market; private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. The paint layer is stable and the seagulls' impasto retains its relief.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection period:\u003c\/strong\u003e 30-day return period to inspect the work in person and appreciate its atmosphere.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eBlue-grey mist allows the church's pinnacles and cross to emerge. A coral accent in the centre contrasts with the cool palette, while the white seagulls in the foreground introduce relief and movement. Layers of colour and texture suggest the architecture.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52831787090253,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0389_e1e6f9a8-de7a-4e76-973d-88f46a158fed.jpg?v=1790868842"},{"product_id":"joan-fuster-gimpera-oleo-original-nocturno-urbano-figuras","title":"Joan Fuster Gimpera — Urban nocturne with figures — Oil on canvas","description":"\u003cp\u003eA visual chronicle of the night. In this oil on canvas, artificial light shapes the architecture and the shadows of passers-by, evoking the atmosphere of urban Catalonia in the mid-20th century.\u003c\/p\u003e\u003ch2\u003eNight in the Empordà\u003c\/h2\u003e\u003cp\u003eJoan Fuster Gimpera (Torroella de Montgrí, 1917–2011) depicted the landscapes and towns of Girona. Although he became particularly known for his watercolours, this oil painting explores a nocturnal setting. Monumental architecture, possibly a church with a clock, dominates the scene, while light transforms the everyday setting into an atmospheric image.\u003c\/p\u003e\u003ch2\u003eLight and shadow\u003c\/h2\u003e\u003cp\u003eThe composition rests on a direct contrast between light and darkness. Deep blues and greens shape the sky and shadows. The warm glow of the streetlights spreads across the street and partly illuminates the façade and clock. The figures, rendered as brief, ghostly silhouettes, lend the scene a cinematic, narrative quality.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Joan Fuster Gimpera (Torroella de Montgrí, 1917–2011).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Urban night scene with figures.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the 20th century.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Oil on canvas.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 33 × 24 cm (artwork) | 49 × 40 cm (framed).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Signed ‘J. Fuster’ in the lower left corner.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Secondary art market, private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Stable paint layer and colours with considerable depth.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed 30-day return period to inspect the work in person and appreciate its evocative quality.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe clock and tower organise the upper part of the composition, while the halo of light draws attention to the square. The blues and greens of the architecture contrast with the yellows of the doorway and windows. The figures appear as silhouettes in brief strokes; their reflections extend the movement across the paving. The brushwork leaves the canvas texture visible, alternating broad areas of colour with small accents of light.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52832023871821,"sku":"ETC-52832023871821","price":115.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0399_8be61760-f234-45c8-a6d7-277f28366559.jpg?v=1790868930"},{"product_id":"francois-antoine-aveline-notre-dame-y-la-isla-de-saint-louis-grabado-s-xviii-documento-historico-de-paris","title":"Pierre Aveline — Notre-Dame and the Île Saint-Louis — Hand-coloured print on paper","description":"\u003cp\u003e\u003cem\u003eA view of the Seine in which the island’s architecture and activity along the banks create a panorama of considerable depth.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003ePierre Aveline and the topographical view\u003c\/h3\u003e\u003cp\u003ePierre Aveline (c. 1656–1722) was a printmaker, publisher and print dealer specialising in topographical views. This work belongs to the set of three prints by Aveline held in the collection.\u003c\/p\u003e\u003ch3\u003eThe composition\u003c\/h3\u003e\u003cp\u003eThe caption identifies the former “Isle Nostre Dame”, now the Île Saint-Louis, seen from the side of the house of Bretonvilliers. The island’s buildings occupy the right-hand side, while the towers of Notre-Dame appear in the distance. Boats, figures and work along the riverbank introduce a human scale.\u003c\/p\u003e\u003cp\u003eThe engraved lines define the architecture and the details of the scene. The colouring creates contrasts between water, buildings and sky, distinguishing the various distances and points of interest in the composition.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Pierre Aveline (c. 1656–1722).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Veüe et Perspective de l’Isle Nostre Dame du costé de la Maison de Monsr. de Bretonvilliers.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Hand-coloured print on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eRecorded dimensions:\u003c\/strong\u003e 32.5 × 50 cm (height × width; plate impression \/ visible paper).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eArtist’s inscription:\u003c\/strong\u003e “fait par Aveline à Paris avec Privil. du Roy”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection; from the same set as the other two prints by Aveline.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. Vivid colours.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e A guaranteed 30-day return period to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe interest of this view lies in the balance between architecture and river. The successive planes lead the eye from the foreground figures to the city’s silhouette, while colour distinguishes the surfaces without obscuring the engraved drawing.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52867376644429,"sku":"ETC-52867376644429","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0127_d2fcb0ab-3159-4805-9304-b4d1ac38934a.jpg?v=1792246770"},{"product_id":"jordi-vila-rufas-friso-calices-abstraccion-sacra","title":"Jordi Vila Rufas — Frieze of chalices — Mixed media on wood","description":"\u003cp\u003eA central cross organises two rows of chalices against a dark reddish background. The golden surface and incised lines give relief to this frieze by Jordi Vila Rufas.\u003c\/p\u003e\u003ch2\u003eThe altarpiece tradition\u003c\/h2\u003e\u003cp\u003eJordi Vila Rufas (Barcelona, 1924–2011) was a painter and altarpiece artist. The son of illustrator Joan Vila i Pujol, ‘d'Ivori’, he trained at the Escola Massana, where he also taught. His work renewed the altarpiece technique through knowledge of its materials and processes.\u003c\/p\u003e\u003ch2\u003eThe repetition of the chalices\u003c\/h2\u003e\u003cp\u003eThe chalices are arranged in two tiers on either side of the cross. Their outlines vary in size and shape within a repetitive structure. Gold tones contrast with reds and blacks, while incisions and textured areas interrupt the continuity of the surface.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Jordi Vila Rufas (1924–2011).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Liturgical composition. Frieze of chalices.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the 20th century.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Mixed media (oil, incision, gold\/silver leaf) on wood.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 46.5 × 100 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Lower right corner.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed 30-day return period to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe cross divides the frieze without interrupting the continuity of the two rows. Differences between the chalice outlines prevent uniform repetition. Light lines and golden areas overlap the dark background; at the edges, red forms the composition's colour boundary.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52959161385293,"sku":null,"price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0212_224982d5-ee00-418a-9699-c3fd4b3c55e2.jpg?v=1790871133"},{"product_id":"esteban-escartin-pueblo-de-alta-montana-arquitectura-de-luz-y-piedra-pintura-de-paisaje-oleo-a-espatula","title":"Esteban Escartín Lacoma — Mountain village — Palette-knife painting on paper","description":"\u003cp\u003eHouses gather around a church that dominates the landscape. Dark roofs, pink-toned façades and mountains in the background form a seemingly simple scene that Esteban Escartín Lacoma (1938) turns into a composition rich in colour and texture.\u003c\/p\u003e\u003cp\u003eThe Aragonese painter, particularly associated with villages and landscapes of Upper Aragon, offers a personal interpretation of rural architecture. The palette knife replaces much of the linear drawing with small areas of pigment that directly build roofs, walls and façades.\u003c\/p\u003e\u003cp\u003eMauves, pinks, ochres and greens contrast with dark roofs, while the blue-green background suggests mountains. The bell tower forms the vertical axis of a composition organised through overlapping geometric shapes.\u003c\/p\u003e\u003ch2\u003eEsteban Escartín and the memory of Aragonese villages\u003c\/h2\u003e\u003cp\u003eVillages and traditional architecture occupy a prominent place in the career of Esteban Escartín Lacoma, an Aragonese artist born in 1938.\u003c\/p\u003e\u003cp\u003eHis work transforms rural landscape into pictorial constructions in which geometry, colour and the arrangement of volumes play a central role.\u003c\/p\u003e\u003cp\u003eIn 2015 his work was included in Miradas. Huesca y su paisaje en el arte, organised by Fundación Ibercaja alongside other artists connected with Huesca province.\u003c\/p\u003e\u003cp\u003eThe following year Fundación Caja Inmaculada presented the retrospective Tiempo de recuerdos at its Sala CAI Huesca. It brought together 31 paintings devoted mainly to Aragonese villages, particularly those of Upper Aragon.\u003c\/p\u003e\u003cp\u003eThe exhibition showed different stages of his work, from more figurative painting to compositions close to constructive approaches, with architecture and geometry playing an essential role.\u003c\/p\u003e\u003cp\u003eEscartín’s painting also reflects varied artistic interests. His career has been linked to European figurative traditions, compositional experimentation and certain Bauhaus influences, especially in the organisation of volumes and use of colour.\u003c\/p\u003e\u003ch2\u003eArchitecture turned into painting\u003c\/h2\u003e\u003cp\u003eThis composition brings together several recognisable aspects of Escartín’s landscape language.\u003c\/p\u003e\u003cp\u003eHouses occupy successive planes, creating a sequence of roofs and façades leading towards the bell tower. Traditional perspective gives way in part to compact forms, as though the houses were assembled pieces.\u003c\/p\u003e\u003cp\u003eThe palette knife adds a material dimension. Pigment applications have broken edges, small accumulations and changes in thickness that evoke irregular stone surfaces and old buildings.\u003c\/p\u003e\u003cp\u003eUnpainted areas of paper bring light and leave space around the composition within its broad format.\u003c\/p\u003e\u003cp\u003eThe landscape is an interpretation of traditional mountain architecture rather than a precise topographical view. The memory of place is expressed through colour and material.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Esteban Escartín Lacoma (1938).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Mountain village. Descriptive title.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Palette-knife painting on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSupport:\u003c\/strong\u003e Thick, strongly textured paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 60 × 50 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the 20th or early 21st century; no documented date.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Escartín” at lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Rural landscape, traditional architecture and mountain village.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition of the painted composition, with visible impasto and well-preserved colour. The paper has a tonal variation along the right margin and slight signs of ageing.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Gilt frame included.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe bell tower establishes the vertical axis. Dark roofs overlap pink and mauve façades, with green accents in windows and vegetation. Blue and green planes in the background suggest mountains. The broken edges of the paint applications contrast with the broad pale areas of paper surrounding the village.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53462980788557,"sku":null,"price":180.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0031_095d9950-1594-4284-9202-86758c32c0ff.jpg?v=1791848672"},{"product_id":"jordi-pagans-montsalvatge-cadaques-blava-maestro-del-vibrantismo-mediterraneo-aguafuerte-iluminado-a-mano","title":"Jordi Pagans Montsalvatge — Cadaqués blava — Hand-coloured etching","description":"\u003cp\u003eA view of Cadaqués in an etching by Jordi Pagans i Montsalvatge, hand-coloured in watercolour. Houses and the church tower rise above a band of trees, with the sea and coast behind.\u003c\/p\u003e\u003ch2\u003eThe town and bay\u003c\/h2\u003e\u003cp\u003eThe drawing brings roofs, walls and vegetation together in successive planes. The tower of Santa Maria stands out among the buildings; behind it, pale sea separates the town from rocky coastal projections.\u003c\/p\u003e\u003ch2\u003eColour over the etching\u003c\/h2\u003e\u003cp\u003eGreens gather in the foreground trees and yellow highlights several roofs. Light washes in the sky and sea contrast with the denser architectural lines. The right margin retains the note “PAGANS - (cadaques blava)”.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Jordi Pagans i Montsalvatge (Barcelona, 1932–2017).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Cadaqués blava. Architectural and coastal view.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Contemporary art. Lyrical figuration.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Original etching hand-coloured in watercolour on heavyweight art paper with natural deckle edges.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Paper: 36 × 29 cm. Platemark: 27 × 20 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Handwritten pencil note “PAGANS - (cadaques blava)” in the right margin.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection \/ workshop holdings.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Intact support with clean margins, a clearly defined platemark and watercolour pigments retaining their original transparency and freshness.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eForeground trees form a dense band below the houses and church tower. Dark lines describe roofs and walls, with yellow accents on several rooftops. Behind the town, the pale sea opens towards rocky headlands and a small formation off the coast. Soft horizontal washes in the sky contrast with the denser marks of vegetation and architecture.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53470766661965,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0194_b7add8d0-754e-4262-b7e0-56bdaac010b8.jpg?v=1791820312"},{"product_id":"carbonell-rull-noies-el-caballo-alado-prueba-bon-a-tirer-b-a-t-aguafuerte-original","title":"Carbonell — Rull (Noies): The Winged Horse — Bon à Tirer Proof (B.A.T.) — Etching","description":"\u003cp\u003eBon à tirer proof of The Winged Horse, an etching by Carbonell printed at Masafumi Yamamoto’s Barcelona workshop.\u003c\/p\u003e\n\u003cp\u003eThis print belongs to Rull (Noies), conceived in March 1985 as a collaboration between Carbonell and Catalan writer Pep Albanell.\u003c\/p\u003e\n\u003cp\u003eA young woman in a spotted dress meets a large winged horse recalling Pegasus. Her hands touch its face against a textured background and abstract clouds. The image belongs to the fourth print in the series.\u003c\/p\u003e\n\u003cp\u003eHand-printing brings out dense blacks in the ground and finer hatching in the wings and dress. The plate mark defines the printed area.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Carbonell (print from the Rull series, with texts by Pep Albanell).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e Rull (Noies), fourth print: The Encounter with the Winged Horse.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e March 1985 (contemporary art \/ Poetic figuration).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Original hand-pulled etching on 250 g Vélin Arches paper with intact deckle edges.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e B.A.T. (bon à tirer) reference impression. Workshop reference proof outside the commercial edition.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Paper: 44 × 32 cm; plate mark: approximately 24.5 × 30 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Handwritten pencil annotation “Bon a Tirer” in the lower left margin; hand-signed by Carbonell in the lower right margin.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Masafumi Yamamoto’s printing workshop, Barcelona \/ Technical archive.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. Brown stains and a dark mark near the upper left corner are visible in the photographed reverse.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe winged horse occupies most of the composition; the barefoot woman stands on the right with both hands on its face. Pale wings form tall, pointed shapes against the dark, textured ground. Dots and short lines distinguish the horse, dress and rounded surroundings. Her arms and the animal’s lowered head bring the two figures together at the upper right.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53470924079437,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0354_902a9f76-76f7-4471-8e21-120bbcc11eaf.jpg?v=1791818086"},{"product_id":"carbonell-y-pep-albanell-rull-noies-carpeta-completa-5-grabados-aguafuerte-original-39-50","title":"Carbonell and Pep Albanell — Rull (Noies) — Complete portfolio (5 etchings) — 39\/50","description":"\u003cp\u003eComplete edition from March 1985, bringing together Catalan literature and original etchings printed at Masafumi Yamamoto’s workshop.\u003c\/p\u003e\u003ch2\u003eText and image\u003c\/h2\u003e\u003cp\u003ePublished in Barcelona, Rull (Noies) combines original prose by Pep Albanell with five original etchings by Carbonell. The sequence moves from female nudes in interiors to poetic and mythological imagery, including an encounter with a winged horse, and Mediterranean scenes such as two women arranging their hair before the sea.\u003c\/p\u003e\n\u003ch2\u003ePrinting and graphic contrasts\u003c\/h2\u003e\u003cp\u003eThe five prints were hand-pulled at Masafumi Yamamoto’s Barcelona workshop. Dense dark areas combine with fine outlines and varied textures. Pale figures stand out against darker grounds, and plate marks remain visible around the printed images.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eAuthors:\u003c\/strong\u003e Original texts by Pep Albanell \/ Original etchings by Carbonell.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Rull (Noies). Complete portfolio.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e March 1985 (contemporary art \/ Artist’s book).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Five original hand-pulled etchings on white 250 g Vélin Arches paper, with intact deckle edges.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Limited edition of 50. Copy 39\/50.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Paper: 44 × 32 cm; plate mark: approximately 24.5 × 30 cm per print.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignatures and inscriptions:\u003c\/strong\u003e All five etchings are signed and numbered 39\/50 in pencil by Carbonell in the lower margins.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Masafumi Yamamoto’s printing workshop, Barcelona.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eComplete contents:\u003c\/strong\u003e Original portfolio case, preliminary leaves, typographic texts by Pep Albanell and five original etchings.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent overall condition.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe portfolio alternates Carbonell’s etchings with Pep Albanell’s text. Typography and the images’ light-and-dark contrasts offer two rhythms of reading within the ensemble.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53470945182029,"sku":null,"price":310.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0301_0be8221c-8db2-46d7-b07a-0541fa46bb98.jpg?v=1791817742"},{"product_id":"perico-pastor-triptico-la-biblia-2007-obra-grafica-firmada-y-certificada-edicion-notarial","title":"Perico Pastor — La Bíblia triptych (2007) — Prints on paper","description":"\u003cp\u003eSet of three prints by Perico Pastor (La Seu d’Urgell, 1953), made for the collector’s edition of La Bíblia, published by Enciclopèdia Catalana in 2007. The compositions depict three biblical episodes: El pas del Mar Roig, Lloeu Déu al seu santuari and Adoració dels savis.\u003c\/p\u003e\u003cp\u003eThe three sheets belong to copy 188\/1000, are signed in pencil by the artist and are accompanied by the publisher’s folder and edition documentation, including a notarial attestation.\u003c\/p\u003e\u003ch2\u003eLa Bíblia: a major project by Perico Pastor\u003c\/h2\u003e\u003cp\u003eIn 2007, Enciclopèdia Catalana published an ambitious illustrated edition of the Bible for which Perico Pastor created 954 images: 433 in colour and 521 in black and white.\u003c\/p\u003e\u003cp\u003eThe project allowed the artist to develop a personal interpretation of the biblical texts through his characteristic pictorial language, based on spontaneous drawing, transparent watercolour and a balance between colour washes and ink lines.\u003c\/p\u003e\u003cp\u003eRather than adopting a strictly academic religious imagery, Pastor approached the sacred narratives with a contemporary sensibility, alternating between the monumentality of the story, collective celebration and the intimacy of the figures.\u003c\/p\u003e\u003cp\u003eThe artistic interest of this publishing project was reflected in the exhibition Perico Pastor: La Bíblia il·luminada, presented at La Pedrera in Barcelona in 2010–2011 and subsequently at other cultural venues, including Lleida’s Museu d’Art Jaume Morera.\u003c\/p\u003e\u003ch2\u003e1. El pas del Mar Roig — The crossing of the Red Sea\u003c\/h2\u003e\u003cp\u003eThe first print depicts the episode from Exodus in which the waters of the Red Sea part to allow the people of Israel to pass.\u003c\/p\u003e\u003cp\u003ePastor organises the composition through broad areas of blue, green and turquoise, crossed by black lines suggesting the movement of water. A crowd of figures, rendered with considerable economy, gathers along the lower edge.\u003c\/p\u003e\u003cp\u003eThe contrast between the masses of colour and the small scale of the figures conveys the extraordinary dimension of the event. The scene is distinguished by its dynamism and the artist’s ability to construct a complex narrative with a few graphic elements.\u003c\/p\u003e\u003ch2\u003e2. Lloeu Déu al seu santuari — Praise God in his sanctuary (Psalm 150)\u003c\/h2\u003e\u003cp\u003eThis composition interprets the musical, celebratory character of the final psalm in the Book of Psalms.\u003c\/p\u003e\u003cp\u003eSchematic musicians appear among red, yellow, blue and green patches, accompanied by instruments evoking the celebration described in the biblical text.\u003c\/p\u003e\u003cp\u003eThe rhythm of the lines and the freely distributed colours create a lively composition. Music is conveyed through the visual movement of the figures and the relationships between colours as well as through the instruments.\u003c\/p\u003e\u003ch2\u003e3. Adoració dels savis — Adoration of the Magi\u003c\/h2\u003e\u003cp\u003eThe third print depicts the adoration of the infant Jesus in a figurative composition rich in colour.\u003c\/p\u003e\u003cp\u003eThe Virgin and Child form the centre of the scene, surrounded by the Magi. Blues, ochres, yellows and magenta are distributed in fluid areas partly defined by black lines.\u003c\/p\u003e\u003cp\u003eThe closeness of the figures and the warm treatment of colour give the scene a human, intimate character, moving away from more solemn religious compositions.\u003c\/p\u003e\u003ch2\u003eAbout the artist\u003c\/h2\u003e\u003cp\u003ePerico Pastor, the artistic name of Pere Pastor i Bodmer, was born in La Seu d’Urgell in 1953. A painter, draughtsman and illustrator, he developed a significant part of his career in New York, where he moved in 1976 and began contributing to publications including The New York Times, Vogue and Harper’s.\u003c\/p\u003e\u003cp\u003eHe has lived in Barcelona since 1989, continuing his artistic activity through exhibitions, media collaborations and publishing projects.\u003c\/p\u003e\u003cp\u003eHis work is characterised by fluent lines, expressive colour and a sensitive interpretation of the human figure. Indian ink and watercolour play a prominent role in his practice.\u003c\/p\u003e\u003cp\u003eHis distinctions include Lleida’s Medalla Morera in 1993 and the Spanish Olympic Committee’s special prize at the 1997 Biennial of Sport in the Fine Arts.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Perico Pastor (Pere Pastor i Bodmer, 1953).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSet title:\u003c\/strong\u003e La Bíblia.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eWorks:\u003c\/strong\u003e El pas del Mar Roig; Lloeu Déu al seu santuari; Adoració dels savis.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 2007.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Enciclopèdia Catalana, Barcelona.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Edition prints based on the artist’s illustrations, traditionally marketed as lithographs. The specific printing process remains to be confirmed.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSupport:\u003c\/strong\u003e Heavyweight art paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 50 × 37 cm per sheet.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 188\/1000, numbered in pencil.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e “perico”, handwritten in pencil at the lower left of all three sheets.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDocumentation:\u003c\/strong\u003e La Bíblia publisher’s folder and edition documentation with a notarial attestation.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall condition, with complete compositions and preserved paper margins; no significant issues recorded.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThis set brings together three compositions representing Perico Pastor’s interpretation of the biblical texts for Enciclopèdia Catalana. The prints show three different aspects of his language: the force of the masses of colour in El pas del Mar Roig, the festive rhythm of Lloeu Déu al seu santuari and the figurative sensitivity of Adoració dels savis. The preservation of the three sheets with matching numbering, together with their folder and publishing documentation, is a particularly interesting feature of the set, both artistically and in relation to collecting prints and illustrated editions.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53474968961357,"sku":null,"price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0034_99095d60-e4a7-4cd9-9176-73f8e05a6e65.jpg?v=1791814409"},{"product_id":"josep-ribot-llupia-basilica-santa-maria-castello-empuries-acuarela","title":"Josep Ribot Llupià — Basilica of Santa Maria de Castelló d'Empúries, watercolor on paper, c. 1970–1980","description":"\u003cp\u003e\u003cspan\u003eOne of the great treasures of Catalan Gothic architecture, the Basilica of Santa Maria in Castelló d’Empúries, is the subject of this watercolour by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJosep Ribot Llupià (1925–2020)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a Catalan painter specialising in landscapes and architectural views.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition takes us to the square of this historic town in the Alt Empordà during the closing decades of the twentieth century. Several period cars are parked in front of the monumental medieval façade, while visitors cross the square. In the foreground, a figure stops to photograph the building, creating an interesting parallel with the artist’s own work: two ways of preserving the memory of a place.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artist renders the architecture with considerable precision. Notable features include the six archivolts of the Gothic portal, the sculpted apostles, the large central rose window and the bell tower on the left. The complexity of the stonework is conveyed through small brushstrokes, transparent washes and colour variations ranging from ochres and greys to golden tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA blue sky painted with broad, spontaneous strokes extends above the scene, its lightness contrasting with the meticulous handling of the façade.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eJosep Ribot Llupià: a watercolourist between Catalonia and Ibiza\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eJosep Ribot Llupià (1925–2020) was a Catalan painter and watercolourist associated with Capellades, in the Anoia region, who later settled in Ibiza.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work focused primarily on landscapes, seascapes and architectural views. He worked particularly in large-format watercolour, a medium that allowed him to explore transparent colour, atmospheric effects and the relationship between light and built structures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis exhibition activity is documented from the mid-twentieth century. In June 1960, he took part in an exhibition of artists from Igualada and the surrounding area at the Palau de la Virreina in Barcelona.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn January 1982, the Catalan press announced an exhibition of his watercolours and drawings at a La Caixa gallery. The Biblioteca de Catalunya also holds a reference to a poster for an exhibition entitled \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ePaisatges i marines\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, held in the exhibition rooms of the Caja de Ahorros Provincial de Tarragona during the 1980s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese references help trace the career of an artist whose work remains connected to the Catalan tradition of landscape watercolour, but whose biography has so far received limited attention.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Cathedral of the Empordà: architecture and the memory of an era\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe Basilica of Santa Maria in Castelló d’Empúries, popularly known as the Cathedral of the Empordà, is one of the most notable religious monuments of Catalan Gothic architecture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts imposing portal, made in the early fifteenth century, is one of its most distinctive features. The archivolts, sculptures of the twelve apostles and tympanum depicting the Epiphany form an exceptional ensemble of medieval sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRibot Llupià does more than depict the building as a monument. By including vehicles, pedestrians and small everyday scenes, he places the historic architecture within the life of the town.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe watercolour thus has a dual interest: as a painting and as a visual record of a Catalan square during the second half of the twentieth century.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical details\u003c\/span\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Josep Ribot Llupià (1925–2020).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBasilica of Santa Maria in Castelló d’Empúries\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (descriptive title).\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Watercolour on paper.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 47.5 × 65 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Second half of the twentieth century, probably the 1970s–1980s.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed “RIBOT LLUPIÀ” in the lower left corner.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eLocation depicted:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Castelló d’Empúries, Alt Empordà, Girona, Catalonia.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSubject:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Urban landscape, Catalan Gothic architecture and scenes of everyday life.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good overall condition, with slight signs of ageing and minor surface irregularities in the paper; no significant losses to the composition have been identified.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003eThe Taller Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eWhat distinguishes this watercolour is its combination of architectural precision and sensitivity to everyday life. Ribot Llupià pays exceptional attention to the portal of Santa Maria, while also making room for cars, visitors and small scenes that place the monument within a particular era.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWe are especially interested in the contrast between the permanence of medieval architecture and the passing nature of the human activity depicted. The composition preserves not only the image of one of the Empordà’s great monuments, but also the atmosphere of a square that has changed over time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts generous format and the luminosity of the watercolour enhance a work that brings together painting, architecture and historical memory.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53475898687821,"sku":null,"price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0268_0e310184-7deb-4ce3-b488-631645cc46c9.jpg?v=1791806453"},{"product_id":"joan-aragones-iglesia-rural-homenaje-a-mossen-baldello-aguada-original-escuela-catalana","title":"Joan Aragonès — Rural Church (homage to Mossèn Baldelló) — Wash drawing on paper","description":"\n\u003cp data-path-to-node=\"5\"\u003eA disciple's reverence captured in the sobriety of chiaroscuro. An extraordinary historical and artistic document attesting to the respect and profound connection between two Catalan intellectuals from the turn of the century.\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"7\"\u003e\u003cb data-path-to-node=\"7\" data-index-in-node=\"0\"\u003eTribute to the master: Francesc de Paula Baldelló\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThere are works whose importance transcends graphic technique to delve fully into the realm of cultural memory. This delicate original wash by Joan Aragonès is an exceptional example of this. It is not a simple landscape sketch; it is, above all, an object of personal veneration.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003eThe key to the print lies in the emphatic handwritten dedication in ink in the lower left corner: \u003ci data-path-to-node=\"9\" data-index-in_node=\"118\"\u003e\"A Mossèn Baldelló amb la veneració que devem als grans mestres\"\u003c\/i\u003e (To Mossèn Baldelló with the veneration we owe to great masters). Francesc de Paula Baldelló (1887-1977), presbyter and foundational figure of modern Catalan musicology, receives here the tribute of Aragonès, who uses the purity of the monochromatic wash to imbue the architecture with tangible spirituality and silence.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eThe synthesis of volume and water control\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe technical execution demonstrates masterful restraint and maturity. Aragonès presents a robust rural church, crowned by a bell-gable and skillfully framed by the silhouette of a pine tree on the left margin. The artist foregoes color to play exclusively with the pigment's dilutions, creating the heavy volumes of stone through confident and intuitive washes. His mastery of \"negative space\" is brilliant: the untouched raw white of the paper visually acts as the relentless midday sun striking the facades, generating a contrast of enormous scenic force.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul data-path-to-node=\"15\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,0,0\"\u003e\u003cb data-path-to-node=\"15,0,0\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Joan Aragonès.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,1,0\"\u003e\u003cb data-path-to-node=\"15,1,0\" data-index-in-node=\"0\"\u003eTitle \/ Theme:\u003c\/b\u003e Landscape with Rural Church \/ Homage to Mossèn Baldelló (Architectural drawing).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,2,0\"\u003e\u003cb data-path-to-node=\"15,2,0\" data-index-in-node=\"0\"\u003eEstimated Period:\u003c\/b\u003e Mid-20th century.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,3,0\"\u003e\u003cb data-path-to-node=\"15,3,0\" data-index-in-node=\"0\"\u003eTechnique and Medium:\u003c\/b\u003e Original monochromatic wash (diluted ink) on warm-toned drawing paper.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,4,0\"\u003e\u003cb data-path-to-node=\"15,4,0\" data-index-in-node=\"0\"\u003eDocumented Dimensions:\u003c\/b\u003e Approx. 21 x 26 cm (Landscape cabinet format).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,5,0\"\u003e\u003cb data-path-to-node=\"15,5,0\" data-index-in-node=\"0\"\u003eSignature and Inscriptions:\u003c\/b\u003e Features an autographed dedication and handwritten signature \u003ci data-path-to-node=\"15,5,0\" data-index-in-node=\"73\"\u003e\"Joan Aragonès\"\u003c\/i\u003e in the lower left margin.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,6,0\"\u003e\u003cb data-path-to-node=\"15,6,0\" data-index-in-node=\"0\"\u003eStyle \/ Movement:\u003c\/b\u003e Synthetic Realism \/ Catalan School.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"15,7,0\"\u003e\u003cb data-path-to-node=\"15,7,0\" data-index-in-node=\"0\"\u003eProvenance:\u003c\/b\u003e Private collection \/ Gallery stock.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e The paper has a warm tone and small perforations, mainly in the sky above the bell tower. The wash retains its contrast and the composition remains clearly legible.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\n\u003cp\u003eThis piece is a silent dialogue between two scholars. Aragonès presents a landscape that conveys the same humility with which he acknowledges a “great master” in the recipient of the dedication.\u003c\/p\u003e\n","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53488357048653,"sku":null,"price":125.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0258_04.jpg?v=1772753624"},{"product_id":"pau-sabate-i-jauma-paisaje-mediterraneo-con-campanario-acuarela-original-postimpresionismo-catalan","title":"Pau Sabaté i Jaumà — Mediterranean landscape with bell tower — Watercolor on paper","description":"\u003cp data-path-to-node=\"7\"\u003eThe light of the Mediterranean captured through a vibrant and modern palette. An original watercolor where the solidity of historical architecture dialogues with the immensity of the sea and atmospheric perspective.\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"0\"\u003eThe master of drawing facing the open landscape\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eIn the panorama of Catalan art in the first half of the 20th century, few artists managed to master the duality between the academic rigor of drawing and the freedom of color like Pau Sabaté i Jaumà (1872-1954). This watercolor is an exceptional testimony to his looser and brighter side. Sabaté transports us to a coastal enclave (possibly the coast of Maresme or Garraf), where a robust bell tower with Romanesque reminiscences and a pyramidal roof stands as a sentinel of time facing the marine horizon.\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe composition is a treatise on classical balance. In the foreground, the stylized cypress trees — an ancient symbol of welcome in the Mediterranean — mark the verticality of the scene, guiding the viewer's gaze towards the coastline.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003e\u003cb data-path-to-node=\"12\" data-index-in-node=\"0\"\u003eChromatic audacity: lilac, purple, and light\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003eWhat elevates this print to the category of a masterpiece is its color palette. Far from 19th-century and earthy landscape painting, Sabaté embraces a distinctly Post-Impressionist aesthetic. The artist masterfully uses the transparencies of watercolor to build visual depth, tinting the background mountains and clouds with bold purple, lilac, and pink glazes. This technique (\u003ci data-path-to-node=\"13\" data-index-in-node=\"394\"\u003eatmospheric perspective\u003c\/i\u003e) gives the work a dazzling internal luminosity, allowing the white reserve of the paper to breathe and become the blinding midday light.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"16\"\u003eTECHNICAL DATA\u003c\/h3\u003e\n\u003cul data-path-to-node=\"17\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,0,0\"\u003e\u003cb data-path-to-node=\"17,0,0\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Pau Sabaté i Jaumà (Reus, 1872 - Barcelona, 1954).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,1,0\"\u003e\u003cb data-path-to-node=\"17,1,0\" data-index-in-node=\"0\"\u003eTitle \/ Theme:\u003c\/b\u003e Landscape with church and cypress trees facing the sea (Seascape \/ Rural landscape).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,2,0\"\u003e\u003cb data-path-to-node=\"17,2,0\" data-index-in-node=\"0\"\u003eEstimated Period:\u003c\/b\u003e First half of the 20th century.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,3,0\"\u003e\u003cb data-path-to-node=\"17,3,0\" data-index-in-node=\"0\"\u003eTechnique and Support:\u003c\/b\u003e Original fluid watercolor on drawing paper.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,4,0\"\u003e\u003cb data-path-to-node=\"17,4,0\" data-index-in-node=\"0\"\u003eDocumented Dimensions:\u003c\/b\u003e 18 x 26.5 cm (Cabinet landscape format).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,5,0\"\u003e\u003cb data-path-to-node=\"17,5,0\" data-index-in-node=\"0\"\u003eSignature and Inscriptions:\u003c\/b\u003e Hand-signed with a brush \u003ci data-path-to-node=\"17,5,0\" data-index-in-node=\"47\"\u003e\"P. Sabaté\"\u003c\/i\u003e in the lower left corner.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,6,0\"\u003e\u003cb data-path-to-node=\"17,6,0\" data-index-in-node=\"0\"\u003eStyle \/ Movement:\u003c\/b\u003e Post-Impressionism \/ Catalan School.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,7,0\"\u003e\u003cb data-path-to-node=\"17,7,0\" data-index-in-node=\"0\"\u003eProvenance:\u003c\/b\u003e Private collection \/ Gallery stock.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"17,8,0\"\u003e\u003cb\u003eCondition:\u003c\/b\u003e The paper has two small perforations at the upper left edge, outside the central composition.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\n\u003cp\u003eSome landscapes describe a place; others also convey a sense of temperature. Here Sabaté evokes the warmth of the stone and the breeze along the lilac horizon.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53488380346701,"sku":null,"price":135.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0215_c5500db1-9785-459b-b332-6177e1d19178.jpg?v=1791590823"},{"product_id":"guillem-fresquet-paisaje-rural-con-campanario-1952-acuarela-original-escuela-catalana","title":"Guillem Fresquet — Rural landscape with bell tower (1952) — Watercolor on paper","description":"\u003cp data-path-to-node=\"8\"\u003eThe dance of water and pigment. An open window to the atmosphere of the Catalan landscape, executed by one of the great historical masters of the Agrupación de Acuarelistas de Cataluña (Association of Watercolorists of Catalonia).\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eThe painter of air and atmospheric perspective\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eGuillem Fresquet Bardina (1914–1991) did not just paint topography; he painted the air and humidity that enveloped the landscape. Trained at La Llotja, he dedicated his life to perfecting the most unforgiving technique in the plastic arts. In this superb original watercolor, dated 1952, we find the quintessence of his style: a small rural nucleus crowned by a bell tower that emerges against the imposing silhouette of a mountain.\u003c\/p\u003e\n\u003cp data-path-to-node=\"12\"\u003eThe piece vibrates with a particular energy. Fresquet uses watercolor not as a simple chromatic filler, but as a living element that expands volume. The large mountainous mass in the background, resolved with masterful leaden and purple tones, blurs and merges with the cloudy sky, achieving a dazzling atmospheric depth that diminishes the persistent human trace of the architecture.\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003e\u003cb data-path-to-node=\"13\" data-index-in-node=\"0\"\u003eTechnical duality: from \u003ci data-path-to-node=\"13\" data-index-in-node=\"25\"\u003ewet-on-wet\u003c\/i\u003e to dry brushstroke\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"14\"\u003eThe true technical display of this print lies in its divided execution. While the backgrounds are resolved with the uncontrollable and poetic \"wet-on-wet\" technique (letting the water work on the cellulose by itself), the foreground shows the firm pulse of the draftsman. Fresquet defines the rustic wooden fence on the left and the edges of the dirt road with energetic, almost dry brushstrokes and highly saturated pigment, visually anchoring the composition and pushing the landscape towards the horizon.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"17\"\u003eTECHNICAL SPECIFICATIONS\u003c\/h3\u003e\n\u003cul data-path-to-node=\"18\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,0,0\"\u003e\u003cb data-path-to-node=\"18,0,0\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Guillem Fresquet Bardina (Barcelona, 1914 - 1991).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,1,0\"\u003e\u003cb data-path-to-node=\"18,1,0\" data-index-in-node=\"0\"\u003eTitle \/ Theme:\u003c\/b\u003e Rural landscape with bell tower and mountain (Catalan Landscape).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,2,0\"\u003e\u003cb data-path-to-node=\"18,2,0\" data-index-in-node=\"0\"\u003eYear of creation:\u003c\/b\u003e 1952.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,3,0\"\u003e\u003cb data-path-to-node=\"18,3,0\" data-index-in-node=\"0\"\u003eTechnique and Support:\u003c\/b\u003e Fluid original watercolor on drawing paper.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,4,0\"\u003e\u003cb data-path-to-node=\"18,4,0\" data-index-in-node=\"0\"\u003eDocumented dimensions:\u003c\/b\u003e 19.5 x 28.5 cm (Horizontal cabinet format).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,5,0\"\u003e\u003cb data-path-to-node=\"18,5,0\" data-index-in-node=\"0\"\u003eSignature and Inscriptions:\u003c\/b\u003e Hand-signed and dated \u003ci data-path-to-node=\"18,5,0\" data-index-in-node=\"48\"\u003e\"FRESQUET 52\"\u003c\/i\u003e in the lower right corner.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,6,0\"\u003e\u003cb data-path-to-node=\"18,6,0\" data-index-in-node=\"0\"\u003eStyle \/ Movement:\u003c\/b\u003e Atmospheric Realism \/ Catalan Watercolor School.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,7,0\"\u003e\u003cb data-path-to-node=\"18,7,0\" data-index-in-node=\"0\"\u003eProvenance:\u003c\/b\u003e Private collection \/ Gallery stock.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"18,8,0\"\u003e\u003cb\u003eCondition:\u003c\/b\u003e The colours retain their intensity. The paper shows slight brown spots (foxing), mainly in the sky area. The photographs allow their extent to be assessed.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\n\u003cp\u003eFresquet gives as much importance to the mist that veils the trees as to the trees themselves. The subdued atmosphere invites quiet contemplation.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53488400597325,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0201_59d012eb-56d1-4af8-a033-9784794aff64.jpg?v=1791589974"},{"product_id":"antoni-carrera-karris-silueta-urbana-gesto-expresionista-acuarela-y-tinta-sobre-papel","title":"Antoni Carrera \"Karris\" — Urban silhouette: expressionist gesture — Watercolor and ink on paper","description":"\u003cp data-path-to-node=\"5\"\u003eContemporary urban landscape in mixed media. An original work by Antoni Carrera \"Karris\" that documents his Neo-Expressionist period, characterized by the structural contrast between the ink drawing and the expansive use of watercolor.\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"7\"\u003e\u003cb data-path-to-node=\"7\" data-index-in-node=\"0\"\u003eThe synthesis of the contemporary landscape\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003eThis work, dated 2004, moves the viewer away from traditional figurative representation to a purely expressive interpretation of the urban landscape. The piece structures the silhouette of a town dominated by the verticality of its church, a compositional axis that anchors the gaze and provides stability to the work. Karris captures the essence of the place through an economy of means that prioritizes visual impact over strict topographical description.\u003c\/p\u003e\n\u003cp data-path-to-node=\"9\"\u003e\u003cb data-path-to-node=\"9\" data-index-in-node=\"0\"\u003eThe architecture of stroke and wash\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003eWhat makes this piece magnetic is the dramatic contrast of its materials. On the one hand, the use of black ink—applied with a rapid calligraphic stroke—defines the solidity of the buildings and the topography of the mountains. In clear technical contrast, washes in magenta and pink tones envelop the scene. It is interesting to observe how Karris masterfully uses the blank paper to bring light to the composition, creating a balance typical of contemporary painting.\u003c\/p\u003e\n\u003ch2 data-path-to-node=\"13\"\u003eTECHNICAL SPECIFICATIONS\u003c\/h2\u003e\n\u003cul data-path-to-node=\"14\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,0,0\"\u003e\u003cb data-path-to-node=\"14,0,0\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Antoni Carrera (\"Karris\").\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,1,0\"\u003e\u003cb data-path-to-node=\"14,1,0\" data-index-in-node=\"0\"\u003eTitle \/ Theme:\u003c\/b\u003e Urban silhouette with church (Neo-Expressionist Landscape).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,2,0\"\u003e\u003cb data-path-to-node=\"14,2,0\" data-index-in-node=\"0\"\u003eYear \/ Period:\u003c\/b\u003e 2004 (Signed and dated \"KARRIS '04\").\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,3,0\"\u003e\u003cb data-path-to-node=\"14,3,0\" data-index-in-node=\"0\"\u003eTechnique and Medium:\u003c\/b\u003e Original watercolor and ink on paper, worked with calligraphic stroke and expansive washes.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,4,0\"\u003e\u003cb data-path-to-node=\"14,4,0\" data-index-in-node=\"0\"\u003eDocumented Dimensions:\u003c\/b\u003e Approx. 24 x 33 cm.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,5,0\"\u003e\u003cb data-path-to-node=\"14,5,0\" data-index-in-node=\"0\"\u003eStyle \/ Movement:\u003c\/b\u003e Neo-Expressionism \/ Figurative Abstraction.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,6,0\"\u003e\u003cb data-path-to-node=\"14,6,0\" data-index-in-node=\"0\"\u003eProvenance:\u003c\/b\u003e Private collection.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"14,7,0\"\u003e\u003cb data-path-to-node=\"14,7,0\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Excellent.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\n\u003cp\u003eThis original work by Antoni Carrera “Karris” documents his Neo-Expressionist period, with a structural contrast between the ink drawing and the expansive use of watercolour.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53493029830989,"sku":null,"price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0392_93890c0d-4b67-4e16-a9b2-45cc076589e0.jpg?v=1791575964"},{"product_id":"antonio-comerma-dibujo-arquitectura-romanica-aguada-sepia-1942","title":"Antonio Comerma — Romanesque Monumentality (1942) — Original sepia wash drawing","description":"\u003cp\u003eAn original drawing from 1942 depicting a Romanesque church, with an academic treatment of volume and light.\u003c\/p\u003e\n\u003cp\u003eSigned by Antonio Comerma and dated 1942, this architectural drawing shows the apse and bell tower of a Catalan Romanesque church. The monochrome sepia wash gives the image an appearance reminiscent of old prints or period photographs.\u003c\/p\u003e\n\u003cp\u003eThe artist builds the stone volumes through precisely placed cast shadows. The depth of the blind arches and the perspective of the walls reveal a careful understanding of architectural geometry. The calm, balanced drawing conveys the solidity of medieval heritage.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Antonio Comerma.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e View of a Romanesque apse and bell tower.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1942.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Sepia wash on paper.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 52 × 37 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Signed “A. Comerma” and dated “1942” in the lower left corner.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eStyle \/ Movement:\u003c\/strong\u003e Academic Realism \/ Regionalist architecture.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Age-related condition. The paper has foxing (small oxidation spots associated with humidity). These marks do not obscure the drawing.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe softness of the sepia tones and the firm lines allow the architectural details to be followed. Precise forms combine with gradations of light and shade that give the building depth.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53518282031437,"sku":null,"price":103.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/imagen_2026-10-22_155933274.png?v=1792677576"},{"product_id":"blanca-montane-la-punta-sitges-acuarela-1987","title":"Blanca Montané Ramírez — La Punta de Sitges, 1987 — Watercolour on paper","description":"\u003cp\u003eAn original watercolour dated 1987 depicting the church of Sant Bartomeu i Santa Tecla, one of the most recognisable landmarks on the Sitges coast. The composition shows the architectural ensemble popularly known as \u003cem\u003eLa Punta\u003c\/em\u003e, set above the town’s former bastion and facing the Mediterranean Sea.\u003c\/p\u003e\n\u003cp\u003eThe church occupies the far left of the scene, its two towers standing out against a sky of broad blue and yellowish washes. To the right, the sea stretches to the horizon, rendered with soft horizontal brushstrokes and transparent colour that bring light and depth.\u003c\/p\u003e\n\u003cp\u003eThe architecture is built from ochre tones, warm yellows and brown shadows, applied in quick, distinct brushstrokes. The treatment of the façades, steps and walls descending towards the promenade shows a particular interest in simplifying forms and conveying Mediterranean light.\u003c\/p\u003e\n\u003cp\u003eThe watercolour bears the signature «Montané» and the date «87» in the lower-right corner. The work is by \u003cstrong\u003eBlanca Montané Ramírez\u003c\/strong\u003e, a watercolourist associated with Sitges and known for her depictions of characteristic places in the town.\u003c\/p\u003e\n\u003cp\u003eThe artist is documented in the Fons d’Art of the Ave Maria Fundació, which holds another watercolour of the church of Sant Bartomeu i Santa Tecla, closely related to this work in composition and pictorial language.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Blanca Montané Ramírez.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e La Punta de Sitges (descriptive title).\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1987.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Original watercolour on paper.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 23.5 × 33 cm.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 38 × 47 cm.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e View of the church of Sant Bartomeu i Santa Tecla, Sitges.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e «Montané 87», in the lower-right corner.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition, with the composition intact and the colour washes preserved. The paper is framed under glass and shows slight signs of ageing consistent with the support.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003ePresentation:\u003c\/strong\u003e Gilt frame with a light-coloured mount.\u003c\/p\u003e\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller’s note\u003c\/h2\u003e\u003cp\u003eThis watercolour captures one of Sitges’s most characteristic views in a particularly luminous, spontaneous interpretation. The monumental architecture of La Punta contrasts with the expanse of the sky and the calm sea horizon.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54325779333453,"sku":null,"price":175.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0052_59325f25-984c-4881-ae98-6aed66ad8308.jpg?v=1784376125"},{"product_id":"jesus-casas-plaza-navalcarnero-oleo-1978","title":"Jesús Casas — Navalcarnero Square: Monumental urban landscape — Oil on canvas (1978)","description":"\u003cp\u003eAn original work from 1978 documenting the emblematic Plaza de Segovia in Navalcarnero, Madrid. Jesús Casas depicts Castilian architecture—its characteristic arcades, stone columns and the silhouette of the Church of Nuestra Señora de la Asunción—with loose, impasto brushwork. The open perspective of the paving and the treatment of the sky lend monumentality to this large urban landscape.\u003c\/p\u003e\u003cp\u003eThe work is a documented depiction of Navalcarnero’s historic centre. Casas uses a technique with clear Impressionist influences, visible in the textures of the curved roof tiles and the luminosity of the sky. By showing the square unobstructed and emphasising the divisions of the paving, he creates depth that draws the eye and places the viewer at the centre of the public space. It is a historical and artistic record of documentary interest.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Jesús Casas.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Urban landscape \/ Architectural scenes of everyday life (Plaza de Segovia, Navalcarnero).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Oil on canvas.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 60 × 81.5 cm | With frame: 78 × 100 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “J. Casas” on the front. Signed, titled and dated on the back: “PLAZA de NAVALCARNERO \/ 1978 \/ J. CASAS”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Stable paint layer and well-tensioned canvas. Warm-toned wooden frame with a light inner section, in good condition.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e A guaranteed 30-day return period to inspect the work in person and check its quality.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe paving lines converge towards the façades, opening up a broad area in the foreground. The street lamp on the left introduces a nearby vertical, while the towers and their spires rise above the rooftops. Beneath the balconies, the dark arcades contrast with the light walls. Ochres in the ground and roof tiles link the architecture to the square, set against the blues and whites of the sky.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54326641066317,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0411_e5c09419-364f-4da0-b353-49b059305eeb.jpg?v=1791901372"},{"product_id":"karl-stuhlmuller-mercado-rural-bavaro","title":"Karl Stuhlmüller — Bavarian rural market scene — Oil on canvas — Late 19th century","description":"\u003cp data-path-to-node=\"1\"\u003eAn accurate depiction of daily life in Upper Bavaria. This work captures the hustle and bustle and the everyday life of a cattle market, transporting us to the rural Central European atmosphere at the turn of the century.\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"3\"\u003eThis painting is part of the costumbrista tradition of the Munich School, a movement that reached its technical maturity in the last quarter of the 19th century. The composition places the viewer in front of a cattle fair, a recurring motif in the works associated with Karl Stuhlmüller, who demonstrated a remarkable ability to organize group scenes with precision in the depiction of animals. The visual axis is defined by the local architectural ensemble, where the silhouette of the church with its bulbous dome, a distinctive element of the region, stands out. In the main plane, the artist articulates the interaction between human figures and draft animals. The treatment of light and color management follow the canons of German workshops of the time, achieving a balanced depth that gives veracity to the scene.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003e\u003cb data-path-to-node=\"4\" data-index-in-node=\"0\"\u003eCataloging Note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"5\"\u003eThe work bears the signature “K. Stuhlmüller München” in the lower left corner. The rural market scene, group composition and treatment of the figures and animals belong to the context of Bavarian genre painting of the late nineteenth century.\u003c\/p\u003e\n\u003cp data-path-to-node=\"8\"\u003e\u003cb data-path-to-node=\"8\" data-index-in-node=\"0\"\u003eTechnical Data Sheet\u003c\/b\u003e\u003c\/p\u003e\n\u003cul data-path-to-node=\"9\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,0,0\"\u003e\u003cb data-path-to-node=\"9,0,0\" data-index-in-node=\"0\"\u003eAuthor:\u003c\/b\u003e Karl Stuhlmüller (Munich, 1859 - Etzenhausen, 1930).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,1,0\"\u003e\u003cb data-path-to-node=\"9,1,0\" data-index-in-node=\"0\"\u003eTheme:\u003c\/b\u003e Landscape with figures \/ Rural genre scene \/ Bavarian market.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,2,0\"\u003e\u003cb data-path-to-node=\"9,2,0\" data-index-in-node=\"0\"\u003eTechnique:\u003c\/b\u003e Oil on canvas.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,3,0\"\u003e\u003cb data-path-to-node=\"9,3,0\" data-index-in-node=\"0\"\u003eDimensions:\u003c\/b\u003e 39 x 60 cm (Canvas) \/ 53 x 74 cm (Frame).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,4,0\"\u003e\u003cb data-path-to-node=\"9,4,0\" data-index-in-node=\"0\"\u003eSignature:\u003c\/b\u003e Signed \"K. Stuhlmüller München\" in the lower left corner.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,5,0\"\u003e\u003cb data-path-to-node=\"9,5,0\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Very good. Stable pictorial layer. The period frame shows natural patina and wear commensurate with use.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"9,6,0\"\u003e\u003cb data-path-to-node=\"9,6,0\" data-index-in-node=\"0\"\u003eIncludes:\u003c\/b\u003e Carved wooden frame and shipping insurance.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eThe Workshop's Note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"11\"\u003eThe figures and cattle are distributed in front of the village buildings, forming a group scene. The church organises the background of the composition, while the variety of gestures and groupings gives rhythm to the market. The period frame retains its patina and complements the presentation of the painting.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54326674620749,"sku":null,"price":2250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0289_3da0af67-e363-4467-811d-40d49b14431b.jpg?v=1791898267"},{"product_id":"albert-carner-paisaje-postimpresionista-escuela-catalana-oleo","title":"Albert Carner — Post-Impressionist Costumbrismo. Catalan School — Oil on Canvas — 20th Century","description":"\u003cp data-path-to-node=\"4\"\u003eAn immersion into the serenity of rural Mediterranean life. This generously sized canvas captures the essence of a traditional setting through striking light and technical mastery of perspective, inviting the viewer to walk its streets.\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"6\"\u003eThe composition transports us to a purely genre scene, structured by a sloping street that naturally guides the eye toward the vanishing point, where the imposing silhouette of the church and its bell tower stands. Albert Carner employs a post-impressionist language deeply rooted in the Catalan landscape tradition, characterized by firm, decisive brushwork heavily laden with paint.\u003c\/p\u003e\n\u003cp data-path-to-node=\"7\"\u003eThe most remarkable aspect of the work is its rigorous study of light. The light, from a grazing mid-afternoon sun, creates a sharp contrast between the illuminated areas of the asphalt and the facades, against the dense shadows cast by the figures and the perimeter wall. The greens of the vegetation, applied with a looser and more expressive touch, add freshness and volume to the composition. Furthermore, the reverse of the canvas retains the historic stamp of \"Vicente Piera\" (Cardenal Casañas, Barcelona), which unequivocally locates and contextualizes the material execution of the piece within the Catalan artistic circle of the period.\u003c\/p\u003e\n\u003cp data-path-to-node=\"10\"\u003e\u003cb data-path-to-node=\"10\" data-index-in-node=\"0\"\u003eTechnical Data Sheet\u003c\/b\u003e\u003c\/p\u003e\n\u003cul data-path-to-node=\"11\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,0,0\"\u003e\u003cb data-path-to-node=\"11,0,0\" data-index-in-node=\"0\"\u003eAuthor:\u003c\/b\u003e Albert Carner.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,1,0\"\u003e\u003cb data-path-to-node=\"11,1,0\" data-index-in-node=\"0\"\u003eSubject:\u003c\/b\u003e Rural landscape \/ Genre scene \/ Architecture.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,2,0\"\u003e\u003cb data-path-to-node=\"11,2,0\" data-index-in-node=\"0\"\u003eTechnique:\u003c\/b\u003e Oil on canvas.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,3,0\"\u003e\u003cb data-path-to-node=\"11,3,0\" data-index-in-node=\"0\"\u003eDimensions:\u003c\/b\u003e 55 x 66 cm (Artwork) \/ 85 x 96 cm (Frame).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,4,0\"\u003e\u003cb data-path-to-node=\"11,4,0\" data-index-in-node=\"0\"\u003eSignature:\u003c\/b\u003e Signed in the lower right corner. Features the stamp of the historic fine arts shop Vicente Piera (Barcelona) on the reverse.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,5,0\"\u003e\u003cb data-path-to-node=\"11,5,0\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Very good. The paint layer remains solid, with no evident craquelure and with vibrant coloring. The canvas maintains excellent tension on the stretcher. The classic frame is in magnificent condition, providing great solidity to the piece. It is recommended to carefully review the photographic report as a binding document.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"11,6,0\"\u003e\u003cb data-path-to-node=\"11,6,0\" data-index-in-node=\"0\"\u003eIncludes:\u003c\/b\u003e High-quality carved wood frame, fabric mat, and professional transport insurance.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp data-path-to-node=\"12\"\u003e\u003cb data-path-to-node=\"12\" data-index-in-node=\"0\"\u003eThe Studio Note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-path-to-node=\"13\"\u003eBeyond the rural anecdote, we are looking at a work where the true protagonist is the Mediterranean light. The skill with which Carner handles the shadows on the asphalt and the volume of the trees demonstrates a mature and highly confident painterly craft. It is a piece that tells the story of the stillness of a village, establishing itself as an open window to the finest tradition of the Catalan landscape school.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54326766240077,"sku":null,"price":490.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0270_8ebf3205-7006-4388-9076-bfc110c3f8f4.jpg?v=1791990012"},{"product_id":"oriol-jansana-cristo-calvario-crucifixion-oleo-tabla","title":"Attributed to Josep Oriol Jansana d'Anzizu — The Calvary — Oil on panel, 20th century","description":"\u003cp\u003e\u003cspan\u003eOriginal religious-themed painting, attributed to the Catalan artist \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJosep Oriol Jansana d'Anzizu (Barcelona, 1913–1993)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, which represents the Crucifixion of Christ using an expressionist language of marked dramatic intensity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition is organized around the figure of the crucified Christ, positioned in the center of the panel. At his feet appear two figures in a posture of reflection; one of them is covered by a blue mantle that allows for an association with the Virgin Mary, while the figure located to the right wears a wide, reddish tunic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artist constructs the scene using free and synthetic brushstrokes, focusing attention on the figures while eschewing secondary narrative elements. The body of Christ, illuminated with ocher and whitish tones, stands out against a dark background of bluish blacks and deep greens.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe accompanying figures are depicted with great economy of detail, through broad applications of color and strokes that suggest their gestures and expressions. The reddish tones of the garments contrast with the shadows of the landscape and the intense blue of the female figure's mantle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe austerity of the composition and the sketchy nature of the execution reinforce the spiritual and emotional dimension of the scene, close to the expressionist trends of 20th-century figurative painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the back of the panel is a handwritten inscription that appears to indicate \"Bocet de Oriol Jansana,\" accompanied by various pencil sketches and notes. This reference constitutes a relevant documentary element for the attribution of the piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eAbout the artist\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJosep Oriol Jansana d'Anzizu (Barcelona, 1913–1993)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e was a Catalan painter who trained with Nolasc Valls and at the Escola de la Llotja in Barcelona. He maintained an artistic relationship with Marià Pidelaserra, a prominent figure in the Catalan pictorial renewal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHe began his exhibition activity during the 1930s and participated in various artistic groups, including the La Campana de Sant Gervasi group.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis production was mainly developed in the field of urban and rural landscapes, although he also cultivated portraiture and figurative representation. His painting shows influences of Fauvism and Expressionism, with special attention to chromatic intensity and the synthetic construction of forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis career includes exhibitions in Barcelona galleries such as Syra and Subex, as well as an artistic residency in Italy during which he won a gold medal at the Cadorago-Lario competition in Como in 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work is represented in institutional collections, including the Museu d'Art de Girona.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthorship:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Attributed to Josep Oriol Jansana d'Anzizu (1913–1993).\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The Calvary (descriptive name).\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Oil on wood panel.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eChronology:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 20th century, date unidentified.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtwork dimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 24.5 × 18 cm.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions with frame:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 36 × 30 cm.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eStyle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Expressionist figuration with a religious theme.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eInscriptions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e On the reverse, a handwritten annotation apparently reading \"Bocet de Oriol Jansana,\" along with other pencil notes.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eConservation status:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good general state of presentation. The pictorial layer retains its texture and the main chromatic relationships. Small surface marks and minor wear consistent with its age can be observed.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePresentation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Wooden frame ornamented with plant motifs, finished in white.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003eWorkshop Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis small panel stands out for the expressive force of its composition and the austerity with which the episode of the Crucifixion is represented.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe use of a dark palette, the free brushwork, and the synthetic nature of the figures give the work an intensity that contrasts with its small dimensions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe handwritten inscription on the reverse, which links the painting to Oriol Jansana and describes it apparently as a sketch, constitutes an element of particular interest for the study of its authorship and its creative process.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54326783115597,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0146_6a013eb7-06a7-41d7-9492-f23ec3506d2e.jpg?v=1791942870"},{"product_id":"puell-melia-paisaje-rural-campanario-acuarela-tabla","title":"Puell Meliá — Mediterranean Atmosphere: Rural Landscape with Bell Tower — Watercolor on Board","description":"\u003cp\u003eA work that captures the essence of rural stillness through an absolute mastery of light and atmosphere. This landscape by Puell Meliá stands out for the fluidity of its washes and the warmth of its palette, offering a direct window into the tranquility of the countryside.\u003c\/p\u003e\n\n\u003cp\u003eThe composition transports us to a traditional rural center, dominated by the verticality of a bell tower and the unmistakable silhouette of cypresses, classic elements of the Mediterranean landscape. Puell Meliá structures the scene in several planes of depth: a foreground sketched with loose brushstrokes and earthy tones, a middle ground where the hamlet sits—with the narrative detail of smoke escaping from the chimney—and a mountainous background blurred under an overcast sky.\u003c\/p\u003e\n\u003cp\u003eTechnically, the choice of watercolor on board is very interesting. This rigid support allows the artist to work with a different level of control over the moisture of the pigment compared to traditional paper, preventing warping. The author demonstrates great mastery of the wet-on-wet technique to resolve the heavy sky and the background mountains, contrasting with the more precise and dry detail in the architecture and the central vegetation.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTechnical Data Sheet\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Puell Meliá.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eSubject:\u003c\/b\u003e Rural landscape \/ Traditional architecture.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eTechnique:\u003c\/b\u003e Watercolor on board.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eDimensions:\u003c\/b\u003e 46 x 60 cm (Artwork) \/ 67 x 80.5 x 6 cm (Frame).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eSignature:\u003c\/b\u003e Signed \"Puell Meliá\" in the lower right corner. It also features a centered metal identification plaque on the bottom matting.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eCondition:\u003c\/b\u003e Excellent. The pigments maintain their original freshness and luminosity, with no signs of oxidation or fading from light exposure. The board ensures the perfect flatness of the work. The solid frame is in magnificent condition. Please review the detailed photographs, which are binding.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eIncludes:\u003c\/b\u003e Original high-quality frame and professional transport insurance.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003eStudio Note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eThe bell tower and the cypresses form a group of verticals that rise above the rooftops. Light facades alternate with green and brown patches, while smoke from the chimney introduces a white line to the left. In the foreground, the stones and grasses have more defined outlines; behind, the mountains dissolve into gray and bluish tones. This difference in sharpness separates the planes and leaves a wide light area between the hamlet and the bottom edge.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54332571418957,"sku":null,"price":135.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0091_b8e5a2cb-3f3f-4712-803d-c6dea2b38262.jpg?v=1791909861"},{"product_id":"acrilico-vista-collioure-martine-foissier-2013","title":"Martine Foissier — View of Collioure (2013) — Acrylic on panel — French Neo-Fauvism","description":"\u003cp\u003eA contemporary interpretation of the Mediterranean coast, using pure colour and gestural brushwork to evoke the light of southern France.\u003c\/p\u003e\n\u003cp\u003eThe architecture identifies the view as Collioure in Occitanie, France. The silhouette of Notre-Dame-des-Anges church extending into the sea and the castle’s profile dominate the background, recalling the town’s association with the beginnings of Fauvism.\u003c\/p\u003e\n\u003cp\u003eMartine Foissier uses a Post-Impressionist and Neo-Fauvist language. Firm, calligraphic black lines, close to Cloisonnism, structure the foreground Catalan boat, architecture and waves. Broad, rapid, textured acrylic strokes fill this framework. Cool cerulean water contrasts with the red boat and an orange sun rendered as a schematic spiral, giving the composition movement.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Martine Foissier.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 2013.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSchool:\u003c\/strong\u003e Contemporary French School.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Neo-Fauvism \/ Expressionism.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Acrylic on a rigid wooden panel.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 65 × 50 cm (vertical format).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 79 × 64 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. The rigid support keeps the paint layer stable. Presented in a light-toned distressed frame that complements the painting’s luminosity.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eFoissier brings the landscape tradition of southern France into a contemporary visual language. Direct lines and areas of colour define the scene without an accumulation of detail.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54336976519501,"sku":null,"price":84.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0005_fadf3562-a608-4bcb-a327-db2ee134d7f2.jpg?v=1791905238"},{"product_id":"frans-geerts-oleo-cardenal-estudio-costumbrismo-belga-siglo-xix","title":"Frans Geerts — The Cardinal in His Study — Oil on canvas — Belgian genre painting","description":"\u003cp\u003eA genre scene by Belgian painter Frans Geerts (Antwerp, 1869 – Borgerhout, 1957), showing a cardinal in his private study among ornate furniture and decorative objects. It belongs to the late-nineteenth-century tradition of anecdotal scenes of senior clergy in domestic settings, where institutional solemnity meets everyday life and discreet humour.\u003c\/p\u003e\n\u003cp\u003eThe cardinal sits beside a table covered with an ornamental textile. Its geometric patterns contrast with his intense red clothing. A small animal in front of him receives his attention, shifting the narrative from his public office to a private moment.\u003c\/p\u003e\n\u003cp\u003eA monumental fireplace, architectural ornament, a carved wooden chair with reddish upholstery, dark furniture and smaller objects fill the interior. Strong colour in the clothing and the distribution of light establish a visual hierarchy. Carefully described textiles and decorative surfaces contrast with the modelling of the face and hands; the warm floor balances the complex background.\u003c\/p\u003e\n\u003cp\u003eThe composition relates to the genre of cardinal paintings cultivated by Georges Croegaert, Jehan Georges Vibert and Andrea Landini, depicting clergy reading, conversing, relaxing or involved in small humorous incidents. Geerts combines narrative character with close attention to interiors in a small work intended for viewing at close range.\u003c\/p\u003e\u003ch2\u003eAbout the artist\u003c\/h2\u003e\u003cp\u003eFrans Geerts, also known as Franz or François Geerts, was a Belgian academic painter associated with the Flemish figurative tradition. From 1880 to 1886 he studied at Antwerp’s Royal Academy of Fine Arts under Lucas Victor Schaefels. His subjects included portraits, genre scenes, religious themes, landscapes and still lifes, principally in oil, but also watercolour and drawing.\u003c\/p\u003e\n\u003cp\u003eHis work remained linked to realist and romantic traditions, with attention to narrative and small formats. Alongside his own compositions he made interpretations and copies after earlier masters, a customary academic study practice. He worked for much of his life around Antwerp and Borgerhout, where he lived for decades.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Frans Geerts (1869–1957).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDescriptive title:\u003c\/strong\u003e The Cardinal in His Study.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Late nineteenth \/ early twentieth century, probably c. 1890–1910.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Oil on canvas.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Genre painting in the Belgian academic tradition.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 32 × 25 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “F. Geerts” in the lower right corner.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMaterial documentation:\u003c\/strong\u003e The stretcher retains a label from the framing business F. De Leeuw, on Turnhoutschebaan, Borgerhout (Antwerp).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Carved and gilded wooden frame with historicist ornament.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall presentation, with surface craquelure visible in some areas and signs consistent with age.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe narrative scene is supported by carefully described materials. Red clothing focuses attention on the cardinal, while varied textiles and decorated surfaces give depth to the interior. The reverse label records part of the painting’s material history: its Borgerhout address corresponds to an area where Geerts worked. The intimate scene reflects a late-nineteenth-century taste for anecdotal figure painting.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54337467187533,"sku":null,"price":390.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/IMG_20260506_181710_eef9e544-bf49-4c8c-aad6-aa9893360a53.jpg?v=1792070813"},{"product_id":"javier-rey-oleo-paleta-pintor-vista-sitges-expresionismo","title":"Javier Rey — View of Sitges on a Painter’s Palette — Oil on panel — Colourist Expressionism","description":"\u003cp\u003eA colourful view of Sitges painted on an unusual support: a wooden painter’s palette. The shape of the object, integrated into the framing, becomes part of the composition.\u003c\/p\u003e\n\u003cp\u003eGalician artist Javier Rey, based in Sitges, draws on the landscape tradition of this Catalan coastal town, associated with Modernisme and artists such as Santiago Rusiñol and Ramon Casas, and reinterprets it through a contemporary, expressionist approach.\u003c\/p\u003e\n\u003cp\u003eThe scene depicts the Passeig de la Ribera with its characteristic kiosk, palm trees, a sea dotted with sailing boats and the silhouette of Sant Bartomeu i Santa Tecla church above the breakwater. Oil paint is applied directly to the wooden palette in rapid, gestural, textured strokes. Violet and purple skies beneath a cadmium-red sun contrast with yellow architecture and turquoise water in a strongly Fauvist palette.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Javier Rey.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e View of Sitges from the Seafront Promenade (assigned title).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Contemporary.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Expressionism \/ Fauvism.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Oil on a wooden panel cut in the shape of a painter’s palette.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 40 × 28 cm (palette).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 50 × 38 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e “Rey”, lower right corner of the palette.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent structural condition and paint layer.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe palette’s inner curve follows the line of the sea. The violet promenade leads from the foreground kiosk towards the church. White sails and yellow architecture stand out against the greens and blues of the water.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54368438747469,"sku":null,"price":170.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0146_a95fffd2-3e2e-495a-b098-c1842a8dcae9.jpg?v=1792094230"},{"product_id":"roser-puig-maternidad-virgen-nino-tecnica-mixta-1957","title":"Roser Puig — Maternity (Virgin and Child) (1957) — Mixed media on paper — Catalan Academic Drawing","description":"\u003cp data-path-to-node=\"1\"\u003eA drawing of extraordinary delicacy where the purity of the graphite line and the subtlety of the chalk capture the tenderness of motherhood in Catalan graphics from the mid-20th century.\u003c\/p\u003e\n\n\u003cp data-path-to-node=\"3\"\u003eCreated in 1957, this piece by Roser Puig represents an intimate approach to the iconography of Maternity or the Virgin and Child, a theme with a long tradition and deep roots in Catalan illustration during the post-war period.\u003c\/p\u003e\n\u003cp data-path-to-node=\"4\"\u003eTechnically, the work stands out for its clean and serene linear execution, a legacy of the sobriety of Noucentisme and academic illustration from the mid-20th century. Puig works on warm beige toned paper, constructing the anatomy of the figures with a firm and modulated graphite line. To give the composition three-dimensionality and volume, the artist masterfully uses white chalk—applied with precision to the faces, the infant's hair, and the nimbus-like halo—and subtle touches of ocher pigments to define the folds of the clothing. The inclusion of two birds fluttering above the halo adds a note of lyricism and compositional freshness.\u003c\/p\u003e\n\u003ch2 data-path-to-node=\"7\"\u003eTechnical details\u003c\/h2\u003e\n\u003cul data-path-to-node=\"8\"\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,0,0\"\u003e\u003cb data-path-to-node=\"8,0,0\" data-index-in-node=\"0\"\u003eArtist:\u003c\/b\u003e Roser Puig\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,1,0\"\u003e\u003cb data-path-to-node=\"8,1,0\" data-index-in-node=\"0\"\u003eTitle:\u003c\/b\u003e \u003ci data-path-to-node=\"8,1,0\" data-index-in-node=\"8\"\u003eMaternity \/ Virgin and Child\u003c\/i\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,2,0\"\u003e\u003cb data-path-to-node=\"8,2,0\" data-index-in-node=\"0\"\u003eYear:\u003c\/b\u003e 1957\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,3,0\"\u003e\u003cb data-path-to-node=\"8,3,0\" data-index-in-node=\"0\"\u003eStyle:\u003c\/b\u003e Academic illustration \/ Catalan drawing from the mid-20th century\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,4,0\"\u003e\u003cb data-path-to-node=\"8,4,0\" data-index-in-node=\"0\"\u003eTechnique:\u003c\/b\u003e Mixed media (graphite, white chalk, and earth pigments) on toned paper\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,5,0\"\u003e\u003cb data-path-to-node=\"8,5,0\" data-index-in-node=\"0\"\u003eArtwork dimensions:\u003c\/b\u003e 41 x 30 cm\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,6,0\"\u003e\u003cb data-path-to-node=\"8,6,0\" data-index-in-node=\"0\"\u003eDimensions with frame:\u003c\/b\u003e 68 x 52 cm approx.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,7,0\"\u003e\u003cb data-path-to-node=\"8,7,0\" data-index-in-node=\"0\"\u003eSignature:\u003c\/b\u003e Lower right corner (\"roser puig 1957\")\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,8,0\"\u003e\u003cb data-path-to-node=\"8,8,0\" data-index-in-node=\"0\"\u003eFraming:\u003c\/b\u003e Smooth natural wood frame with protective glass and a large format passe-partout in a neutral coffee tone.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp data-path-to-node=\"8,9,0\"\u003e\u003cb data-path-to-node=\"8,9,0\" data-index-in-node=\"0\"\u003eCondition:\u003c\/b\u003e Excellent. Paper firm, stable, and in optimal preservation conditions.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2 data-path-to-node=\"9\"\u003eThe Taller Note\u003c\/h2\u003e\n\u003cp\u003eThe white chalk catches the light on the faces against the warm natural tone of the paper. Its dialogue with the graphite line gives the figures volume while maintaining the delicacy of the drawing.\u003c\/p\u003e\n","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54368448676173,"sku":null,"price":190.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0180_ea30194c-1292-4170-97e3-9b43fd0a9517.jpg?v=1792094677"},{"product_id":"escuela-europea-the-ave-maria-relic-retablo-antiguo","title":"European School — The Ave Maria Relic: Madonna and Child with Saints — Oil on Antique Altarpiece","description":"\u003cp\u003eA devotional piece of museum quality that attests to the richness of sacred art from the early period. This altarpiece, conceived for private worship, fuses solid polychrome wood carving with detailed oil painting, encapsulating the devotion and technical virtuosity of European religious imagery.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eThe splendor of domestic worship:\u003c\/b\u003e During late antiquity, private oratories were the spiritual epicenter for noble families or the upper bourgeoisie. This work responds to that need for intimate devotion, presenting a carved, polychromed, and gilded architectural structure that elevates the central scene to the sacred. Its stylistic features evidence a European school that oscillates between the compositional rigor of Florentine workshops and the devotional drama of the Spanish tradition.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAn unaltered material document:\u003c\/b\u003e The relevance of this panel lies in its historical integrity and its unaltered craftsmanship. The central oil painting dialogues directly with the solid structure that houses it, creating a total work of art. The presence of remnants of an old cataloging label on the reverse underscores its documentary importance, tracing its path through historical collecting, though this inscription alone does not allow for the reconstruction of its historical journey.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTechnical Data Sheet\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eAuthor:\u003c\/b\u003e Anonymous (European School, possible Spanish or Florentine origin).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eTitle \/ Theme:\u003c\/b\u003e The Ave Maria Relic: Madonna, Child and Saints.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003ePeriod:\u003c\/b\u003e Late Antiquity.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eTechnique and Support:\u003c\/b\u003e Oil on panel integrated into a carved, polychromed, and gilded solid wood altarpiece.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eDimensions:\u003c\/b\u003e 70 cm (Height) x 37 cm (Width) x 6.5 cm (Thickness).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eWeight:\u003c\/b\u003e 4.5 kg.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eSignature and Inscriptions:\u003c\/b\u003e None present. Retains remnants of an old cataloging label on the reverse.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Secondary market \/ Historical private collection.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eCondition:\u003c\/b\u003e Very good in its antique state. Retains its genuine patina intact. Presents natural craquelure in the pictorial layer, a central crack due to wood shrinkage, structural losses, and inactive historical xylophagous marks that document its material state, without alone confirming its date or authenticity.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003e\u003cb\u003eWorkshop Note\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eTo stand before this altarpiece is to observe how time has sculpted its own patina over human work. It is a solemn piece, charged with historical context and possessing an imposing physical presence that demands respect.\u003c\/p\u003e\n","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54521905152333,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/WhatsAppImage2026-05-11at13.51.03_01-Photoroom-copia.png?v=1786806361"},{"product_id":"san-pedro-de-alcantara-oleo-barroco-espanol","title":"Spanish School — Saint Peter of Alcántara before the Crucifix — Oil on canvas — Baroque tradition with a Marian devotional mark","description":"\u003cp\u003eA powerful religious painting in the Spanish Baroque tradition, representing, in all likelihood, \u003cstrong\u003eSaint Peter of Alcantara (1499-1562)\u003c\/strong\u003e lost in contemplation of Christ crucified. The saint appears isolated against a deeply dark background, accompanied only by the crucifix, an open book, and a skull—elements that condense some of the primary motifs of Early Modern ascetic spirituality into the scene.\u003c\/p\u003e\n\u003cp\u003eThe work also features an exceptional element: a \u003cstrong\u003esmall, hand-painted Marian image on a textile support\u003c\/strong\u003e is preserved adhered to the upper right corner, likely a representation of \u003cstrong\u003eOur Lady of Atocha\u003c\/strong\u003e. This tiny devotional addition, incorporated at some point in the painting's material history, constitutes a unique trace of its ancient religious use.\u003c\/p\u003e\n\n\u003cp\u003eThe composition clearly belongs to the tradition of Spanish religious painting developed during the Baroque period and continued in subsequent centuries. The protagonist appears in profile, completely absorbed in the contemplation of the Crucified Christ he holds in his hands.\u003c\/p\u003e\n\u003cp\u003eThe identification with \u003cstrong\u003eSaint Peter of Alcantara\u003c\/strong\u003e is especially plausible due to the combination of several elements: the Franciscan habit, the pronounced tonsure or baldness, the extremely austere character of the representation, the crucifix, the skull, and the book.\u003c\/p\u003e\n\u003cp\u003eSaint Peter of Alcantara was one of the fundamental figures of the 16th-century Spanish Franciscan reform and achieved significant iconographic popularity following his canonization in 1669. His image developed primarily as that of an ascetic religious, of intense contemplative life, associated with the crucifix, penance, and meditation on death.\u003c\/p\u003e\n\u003cp\u003eThe composition dispenses almost entirely with narrative elements. The painter focuses the lighting on the religious figure's face, his hands, the Crucified Christ, and specific areas of the habit, while the rest of the scene remains plunged in shadow. This procedure gives the painting remarkable psychological intensity and refers directly to the tenebrist techniques characteristic of Spanish religious painting.\u003c\/p\u003e\n\u003cp\u003eThe saint's face is of special interest, treated with side lighting that forcefully models the forehead, nose, and cheekbone. His gaze is directed straight toward Christ, establishing the true emotional axis of the composition.\u003c\/p\u003e\n\u003ch2\u003eThe book and the skull: meditation and \u003cem\u003ememento mori\u003c\/em\u003e\n\n\u003c\/h2\u003e\n\u003cp\u003eIn the foreground appears an open book, upon which a human skull is placed.\u003c\/p\u003e\n\u003cp\u003eBoth elements must be understood within the Christian ascetic tradition.\u003c\/p\u003e\n\u003cp\u003eThe book refers to study, prayer, and spiritual meditation. The skull constitutes one of the most widespread symbols of \u003cem\u003ememento mori\u003c\/em\u003e, a Latin expression that reminds the believer of the inevitability of death and the transient nature of earthly existence.\u003c\/p\u003e\n\u003cp\u003eThe simultaneous presence of the Crucified Christ, the book, and the skull transforms the scene into an authentic image of meditation: Christ as an object of contemplation, the Scriptures or spiritual texts as a means of knowledge, and death as a reminder of the fleeting nature of life.\u003c\/p\u003e\n\u003cp\u003eThis symbolic austerity is characteristic of a good portion of 17th and 18th-century Spanish religious painting.\u003c\/p\u003e\n\u003ch2\u003eThe Franciscan habit\u003c\/h2\u003e\n\u003cp\u003eOne of the most unique pictorial aspects of the work is the treatment of the habit.\u003c\/p\u003e\n\u003cp\u003eThe painter has rendered specific areas of the sleeve and shoulder using numerous dark parallel lines over a light earthy tone, visually producing the sensation of an extremely coarse fabric.\u003c\/p\u003e\n\u003cp\u003eThis does not appear to be a purely decorative detail. The poverty of the clothing is part of the iconographic construction of the religious figure and deliberately underscores the penitential nature of the scene.\u003c\/p\u003e\n\u003cp\u003eThe contrast between the illuminated areas of the habit and the virtually absolute darkness of the background further reinforces the physical presence of the saint.\u003c\/p\u003e\n\u003ch2\u003eThe small Marian painting\u003c\/h2\u003e\n\u003cp\u003eOne of the most unique elements of the entire work is preserved in the upper right corner: \u003cstrong\u003ea tiny representation of the Virgin, hand-painted on an independent textile support.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn the photographs, the structure of the fabric and a direct painterly execution can be seen. Its state of conservation is fragmentary, making an absolutely certain identification difficult. However, its iconography shows significant similarities with historical representations of \u003cstrong\u003eOur Lady of Atocha\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3\u003ePossible identification as Our Lady of Atocha\u003c\/h3\u003e\n\u003cp\u003eOur Lady of Atocha was one of the most important Marian advocations in Early Modern Spain and was especially linked to Madrid and the Spanish monarchy.\u003c\/p\u003e\n\u003cp\u003eThe original image is a small medieval carving of the Virgin and Child that, since the Baroque era, was presented to the faithful richly dressed and crowned.\u003c\/p\u003e\n\u003cp\u003eThe faux vestments concealed a large part of the original sculpture and gave the image a characteristic rigid, almost triangular or conical, silhouette. This particular appearance gave rise to an easily recognizable iconographic type that was reproduced numerous times during the 17th and 18th centuries.\u003c\/p\u003e\n\u003cp\u003eRepresentations of Atocha typically feature several characteristic elements:\u003c\/p\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eCrowned Virgin.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eChild Jesus associated with the maternal figure.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eWide garment with a triangular or conical structure.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eFace surrounded by a \u003cem\u003erostrillo\u003c\/em\u003e (lace ruff).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eLarge halo or radiant structure around the head.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eFrequent presence of stars and rays.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003ePresentation of the image as if it were inside its altar or \u003cem\u003ecamarín\u003c\/em\u003e (shrine).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003eIn numerous representations, curtains or architectural elements that frame the effigy.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003cp\u003eSeveral of these elements seem recognizable, albeit in a very deteriorated state, in the small painting adhered to the canvas.\u003c\/p\u003e\n\u003cp\u003eFor this reason, we cautiously propose its identification as a \u003cstrong\u003e“probable Our Lady of Atocha,”\u003c\/strong\u003e while keeping open the possibility that it corresponds to another Marian advocation of similar typology.\u003c\/p\u003e\n\u003ch2\u003eThe “true portraits” of miraculous images\u003c\/h2\u003e\n\u003cp\u003eThe possible identification with Atocha is especially interesting due to a practice characteristic of Baroque religiosity.\u003c\/p\u003e\n\u003cp\u003eDuring the 17th and 18th centuries, numerous representations known as \u003cstrong\u003e“true portraits” or \u003cem\u003evera effigies\u003c\/em\u003e\u003c\/strong\u003e of cult images were produced.\u003c\/p\u003e\n\u003cp\u003eThe goal was not simply to represent the Virgin in an idealized way, but to reproduce as faithfully as possible a specific sculpture just as the faithful could see it in their church: its dresses, jewels, crown, radiance, and shrine.\u003c\/p\u003e\n\u003cp\u003ePaintings of Our Lady of Atocha constitute one of the best Spanish examples of this phenomenon.\u003c\/p\u003e\n\u003cp\u003eSome of these reproductions even acquired extraordinary devotional significance. There is documentation of a 17th-century pictorial reproduction of the Virgin of Atocha that was brought into contact with the original image itself, following the belief that such contact could symbolically transmit part of its protective properties.\u003c\/p\u003e\n\u003cp\u003eIt is not possible to determine if the small painting preserved in this work participated in any such practice. However, its character as a small independent object and its subsequent incorporation into another religious canvas is fully compatible with private devotional use.\u003c\/p\u003e\n\u003ch2\u003eA historical intervention of a devotional nature\u003c\/h2\u003e\n\u003cp\u003eThe tiny Marian painting does not appear to be part of the composition originally conceived by the artist.\u003c\/p\u003e\n\u003cp\u003eIts position in the upper right corner, its independent support, and its visible edges indicate that it was added later.\u003c\/p\u003e\n\u003cp\u003eThis circumstance constitutes an especially interesting part of the painting's material history.\u003c\/p\u003e\n\u003cp\u003eInstead of understanding it solely as a later alteration, it can be interpreted as a testament to the use of the painting as a true \u003cstrong\u003eobject of devotion\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAt some point in its history, a former owner, religious figure, or community decided to incorporate this small Marian image into a painting already dedicated to religious meditation.\u003c\/p\u003e\n\u003cp\u003eThe result thus gathers two distinct levels of devotion: the pictorial representation of a saint contemplating Christ and a small image of the Virgin physically incorporated into the surface of the painting.\u003c\/p\u003e\n\u003cp\u003eThis is a humble intervention but one of considerable historical interest, as it allows us to approach not only how the work was created, but also \u003cstrong\u003ehow it was used and transformed by those who possessed it\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch2\u003eChronology\u003c\/h2\u003e\n\u003cp\u003eThe work unequivocally responds to models developed by Spanish Baroque painting.\u003c\/p\u003e\n\u003cp\u003eHowever, distinguishing between the creation date of a composition and the material execution date of the canvas is fundamental.\u003c\/p\u003e\n\u003cp\u003eBaroque models continued to be copied and reinterpreted during the 18th and even 19th centuries, especially in conventual, provincial, and private devotional settings.\u003c\/p\u003e\n\u003cp\u003eFor this reason, and until a direct study of the fabric, preparation, pigments, stretcher, and restorations is carried out, we cautiously propose an approximate dating between the \u003cstrong\u003e18th and 19th centuries\u003c\/strong\u003e, within the Spanish Baroque tradition.\u003c\/p\u003e\n\u003cp\u003eAn earlier chronology cannot be completely ruled out, but it would require a technical study.\u003c\/p\u003e\n\u003cp\u003eThe small Marian painting may also belong to a different moment than the execution of the main canvas, as it appears to have been added later.\u003c\/p\u003e\n\u003ch2\u003eCondition and material traces\u003c\/h2\u003e\n\u003cp\u003eThe painting presents a state of conservation consistent with a work of considerable age and a complex material history.\u003c\/p\u003e\n\u003cp\u003eWidespread craquelure, surface dirt, wear and abrasions of the paint layer, small losses, and ancient interventions are visible.\u003c\/p\u003e\n\u003cp\u003eThe edges of the canvas show deterioration and loss of material, especially in certain upper areas.\u003c\/p\u003e\n\u003cp\u003eOn the reverse, old repairs using patches applied over the fabric can be observed, evidence of interventions carried out to consolidate tears or punctures produced during the piece's history.\u003c\/p\u003e\n\u003cp\u003eThese restorations are part of its material journey and are clearly documented in the photographs.\u003c\/p\u003e\n\u003ch2\u003eTechnical Data Sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Anonymous\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eSchool:\u003c\/strong\u003e Spanish\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eProposed title:\u003c\/strong\u003e \u003cem\u003eSaint Peter of Alcantara before the Crucified Christ\u003c\/em\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eProposed dating:\u003c\/strong\u003e 18th-19th centuries\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eArtistic tradition:\u003c\/strong\u003e Spanish Baroque\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e Religious painting \/ devotional painting\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Oil on canvas\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 103 × 83 cm\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Not observed\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eCharacter depicted:\u003c\/strong\u003e Likely Saint Peter of Alcantara\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eAttributes:\u003c\/strong\u003e Crucifix, book, and skull\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eAdded element:\u003c\/strong\u003e Small Marian painting on textile support\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eProposed Marian advocation:\u003c\/strong\u003e Likely Our Lady of Atocha\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Shows craquelure, wear, losses, and old repairs. The reverse retains patches corresponding to historical interventions on the support. The edges show deterioration and fabric loss. It is recommended to carefully consult all photographs, which form an integral part of the description of the state of conservation.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eWorkshop Note\u003c\/h2\u003e\n\u003cp\u003eThere are old works whose importance does not reside solely in who painted them, but in everything that surrounded them. This canvas is a magnificent example.\u003c\/p\u003e\n\u003cp\u003eA religious figure contemplates Christ crucified in silence. Before him, a book and a skull recall prayer, knowledge, and the inevitability of death. Everything happens within almost absolute darkness. But someone, at some later point in the painting's history, added something more. In one of its corners, they placed a tiny image of the Virgin, carefully painted on a small fragment of fabric. We do not know who did it, when they did it, or why they decided to incorporate it precisely into this painting.\u003c\/p\u003e\n\u003cp\u003eIts iconography allows us to relate it, likely, to Our Lady of Atocha, one of the great devotional images of the Spanish Baroque, although we prefer to keep this identification as a proposal until new elements can be documented.\u003c\/p\u003e\n\u003cp\u003eWhat is truly extraordinary is that this small painting transforms our way of understanding the whole. At some point in its history, the painting ceased to be merely a representation of a saint. Someone intervened on it and turned it into a personal object of devotion, physically bringing together on a single surface the contemplation of Christ and a protective image of the Virgin. Its wear, repairs, and additions do not hide that history; they preserve it.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54594673279309,"sku":null,"price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/IMG_20260805_164223.jpg?v=1787839695"},{"product_id":"lucas-lorenzo-cristo-crucificado-arte-popular-mexicano","title":"Attributed to Lucas Lorenzo — Christ Crucified — Acrylic on Masonite — Mexican folk art","description":"\u003cp\u003eA colourful depiction of \u003cstrong\u003eChrist Crucified\u003c\/strong\u003e, attributed to \u003cstrong\u003eLucas Lorenzo (1941–2020)\u003c\/strong\u003e, a Mexican artist from Xalitla, Guerrero, and a prominent figure in Mexican folk art.\u003c\/p\u003e\u003cp\u003eThe work shows Christ on the cross surrounded by roses, large vessels and an intensely coloured landscape. The artist uses strong black outlines, flat colours and a free approach to perspective, characteristic of the naïve visual language developed by the \u003cstrong\u003eLorenzo family\u003c\/strong\u003e.\u003c\/p\u003e\u003cp\u003eThis painting was acquired together with two other works of the same format, support and style. One is clearly signed \u003cstrong\u003e“Lucas Lorenzo”\u003c\/strong\u003e, a circumstance that supports the attribution of this piece to the same artist or his immediate family circle.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Attributed to Lucas Lorenzo (1941–2020)\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eChrist Crucified\u003c\/em\u003e\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eOrigin:\u003c\/strong\u003e Xalitla, Guerrero, Mexico\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Mexican folk art \/ Naïve art\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Acrylic on Masonite\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eWork dimensions:\u003c\/strong\u003e 29 × 19.5 cm\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 33 × 23 cm\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Included\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Not visible on this work\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Acquired together with two other similar paintings, one signed Lucas Lorenzo\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. Please consult the photographs, which form part of the description.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eA highly personal interpretation of the Crucifixion, in which religious drama coexists with roses, vegetation and intense colours. Its shared provenance with a work signed by Lucas Lorenzo also provides a particularly interesting detail for its attribution.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54594722365773,"sku":null,"price":160.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/IMG_20260805_170118.jpg?v=1787841864"},{"product_id":"lucas-lorenzo-san-martin-de-porres-arte-popular-mexicano","title":"Attributed to Lucas Lorenzo — Saint Martin de Porres — Acrylic on Masonite — Mexican folk art","description":"\u003cp\u003eA colourful depiction of \u003cstrong\u003eSaint Martin de Porres\u003c\/strong\u003e, attributed to \u003cstrong\u003eLucas Lorenzo (1941–2020)\u003c\/strong\u003e, an artist from Xalitla, Guerrero, and a prominent figure in Mexican folk art.\u003c\/p\u003e\u003cp\u003eThe saint appears with his most recognisable attributes: the \u003cstrong\u003ebroom\u003c\/strong\u003e, the rosary and various animals at his feet, elements associated with his humility, charity and special relationship with animals. The scene uses bright, flat colours, black outlines and deliberately free perspective, characteristic of the naïve language of the \u003cstrong\u003eLorenzo family\u003c\/strong\u003e.\u003c\/p\u003e\u003cp\u003eThe work was acquired together with two other paintings of the same size, support, frame and style. One is clearly signed \u003cstrong\u003e“Lucas Lorenzo”\u003c\/strong\u003e, a provenance detail that supports the attribution of this piece to the artist himself or his immediate family circle.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Attributed to Lucas Lorenzo (1941–2020)\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eSaint Martin de Porres\u003c\/em\u003e\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eOrigin:\u003c\/strong\u003e Xalitla, Guerrero, Mexico\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Mexican folk art \/ Naïve art\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Acrylic on Masonite\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eWork dimensions:\u003c\/strong\u003e 29 × 19.5 cm\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 33 × 23 cm\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Included\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInscription:\u003c\/strong\u003e “San Martín de Porres”\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Acquired together with two other similar paintings, one signed Lucas Lorenzo\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. Please consult the photographs, which form part of the description.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eAn image particularly representative of Latin American popular religious art. The figure of Saint Martin de Porres, traditionally known as \u003cstrong\u003ethe saint of the broom\u003c\/strong\u003e, is transformed here through the colour and spontaneity characteristic of Xalitla folk painting.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54594725708109,"sku":null,"price":160.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/IMG_20260805_170138.jpg?v=1787842239"},{"product_id":"heber-l-gil-lluvia-bajo-estrellas-japon-2016","title":"Heber L. Gil — “Rain beneath the Stars” — Japan in My Memory — Mixed Media on Paper","description":"\u003cp\u003eOriginal work on paper by \u003cstrong\u003eHeber Luis Gil Ameijeiras\u003c\/strong\u003e, signed as \u003cem\u003eHeber L. Gil\u003c\/em\u003e and created in Barcelona in December 2016. Titled by the artist himself \u003cem\u003eRain under the Stars\u003c\/em\u003e, it belongs to his particular evocation \u003cstrong\u003e“Japan in my Memory”\u003c\/strong\u003e, an intimate approach to the landscape, architecture, and atmosphere of Japan.\u003c\/p\u003e\n\u003cp\u003eThe scene depicts the monumental entrance of a Japanese temple or shrine under a deep blue sky. The reddish pillars, the golden architectural details, and the small figures protected by umbrellas build a silent image in which the rain seems to have momentarily paused the rhythm of the place.\u003c\/p\u003e\n\n\u003ch3\u003eJapan from memory\u003c\/h3\u003e\n\u003cp\u003eMore than a documentary representation of a specific monument, the work functions as a reconstructed memory. The handwritten inscription \u003cstrong\u003e“Japan in my Memory”\u003c\/strong\u003e provides the key: Heber L. Gil selects recognizable elements of traditional Japanese architecture and transforms them through his own perception.\u003c\/p\u003e\n\u003cp\u003eThe monumental gate dominates the composition, while the human figures are reduced to a minimal scale. A woman with a pink umbrella moves in the foreground, adding depth to the scene and reinforcing that sense of a daily moment captured on a rainy day.\u003c\/p\u003e\n\u003ch3\u003eArchitecture, rain, and night\u003c\/h3\u003e\n\u003cp\u003eThe use of \u003cstrong\u003especial inks on paper\u003c\/strong\u003e allows the artist to work through transparencies, lines, and small ornamental details. The reds and golds of the architecture contrast with the grays of the wet ground and the intense blue of the sky.\u003c\/p\u003e\n\u003cp\u003eThe small white lights that dot the upper part justify the evocative title \u003cem\u003eRain under the Stars\u003c\/em\u003e, creating an unusual combination of humidity, night, and light.\u003c\/p\u003e\n\u003ch2\u003eTechnical sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eAuthor:\u003c\/strong\u003e Heber Luis Gil Ameijeiras (Heber L. Gil).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eRain under the Stars\u003c\/em\u003e.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eSeries \/ reference:\u003c\/strong\u003e \u003cem\u003eJapan in my Memory\u003c\/em\u003e.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e December 2016.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003ePlace of creation:\u003c\/strong\u003e Barcelona.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Special inks on paper.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Japan \/ traditional Japanese architecture \/ urban landscape.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eDimensions of the work:\u003c\/strong\u003e 25 × 17 cm.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eDimensions with frame:\u003c\/strong\u003e 34 × 28 cm.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Heber L. Gil” in red in the lower right corner.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eFramed:\u003c\/strong\u003e Yes. Black frame with front protection and hanging system.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eAuthentication:\u003c\/strong\u003e The reverse retains a card handwritten by the artist himself with the author, title, technique, reference to \u003cem\u003eJapan in my Memory\u003c\/em\u003e, date, and place of execution.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good general condition. The frame shows small, normal signs of use. The photographs are an integral part of the description.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eThe Workshop Note\u003c\/h2\u003e\n\u003cp\u003eThere is something especially attractive about the fact that Heber L. Gil did not simply title this work with the name of a place.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRain under the Stars\u003c\/em\u003e speaks more of a sensation than a location. The enormous gate, the umbrellas, the wet pavement, and the deeply blue sky turn an apparently everyday scene into an almost cinematic memory.\u003c\/p\u003e\n\u003cp\u003eThe note \u003cstrong\u003e“Japan in my Memory”\u003c\/strong\u003e, written by the artist himself on the reverse, finishes giving it meaning: We are looking at the way a place remains in the memory afterward.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54594969796941,"sku":null,"price":155.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0148_3c083d23-8700-4a43-a007-ca77ba0fd851.jpg?v=1792245044"},{"product_id":"heber-l-gil-descanso-templo-japon-tecnica-mixta","title":"Heber L. Gil — “Rest at the Temple” — Mixed Media on Paper","description":"\u003cp\u003eOriginal work by \u003cstrong\u003eHeber Luis Gil Ameijeiras\u003c\/strong\u003e, signed as \u003cem\u003eHeber L. Gil\u003c\/em\u003e, depicting a Japanese-inspired scene set inside a temple. A female figure dressed in traditional attire is seated next to a gilded Buddhist image and various elements evoking Japanese writing and visual culture.\u003c\/p\u003e\n\u003cp\u003eThe piece combines figuration, color, and a free interpretation of Eastern aesthetics within the artist's contemporary language.\u003c\/p\u003e\n\u003ch3\u003eA scene of pause and contemplation\u003c\/h3\u003e\n\u003cp\u003eThe title itself, \u003cem\u003eRest in the Temple\u003c\/em\u003e, directs the gaze toward the intimate nature of the scene. The figure remains seated and isolated, while the golden image positioned behind her introduces a spiritual and silent dimension.\u003c\/p\u003e\n\u003cp\u003eHeber L. Gil contrasts the earthy tones of the temple with the small chromatic accents of the floral dress, creating a simple composition with a strong narrative character.\u003c\/p\u003e\n\u003cp\u003eRather than providing a documentary reproduction of a specific religious space, the work seems to be part of the personal vision the artist developed around \u003cstrong\u003eJapan, its temples, and its traditional culture\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch2\u003eTechnical specifications\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Heber Luis Gil Ameijeiras (Heber L. Gil).\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eRest in the Temple\u003c\/em\u003e.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Mixed media on paper.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Japan \/ Japanese temple \/ Oriental-inspired scene.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 25 × 18 cm.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDimensions with frame:\u003c\/strong\u003e 36 × 25 cm.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed \"Heber L. Gil\" in the lower right corner.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eFramed:\u003c\/strong\u003e Yes. Wood-tone frame.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eProvenance:\u003c\/strong\u003e Retains handwritten identification and an old cataloging label on the reverse with the title, technique, and a historical price of \u003cstrong\u003e€100\u003c\/strong\u003e.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eCondition:\u003c\/strong\u003e The work is in good overall condition. \u003cstrong\u003eThe protective glass has several visible cracks and should be replaced.\u003c\/strong\u003e The frame shows minor signs of use. The photographs are an integral part of the description.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eWorkshop Note\u003c\/h2\u003e\n\u003cp\u003eWe are particularly interested in the contrast between an apparently everyday scene—a woman sitting and resting—and the ceremonial environment that surrounds her.\u003c\/p\u003e\n\u003cp\u003eThe golden figure, the inscriptions, and the traditional dress turn this small moment of pause into an image charged with atmosphere. An intimate work within \u003cstrong\u003eHeber L. Gil's Japan-inspired\u003c\/strong\u003e output.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54594980282701,"sku":null,"price":80.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/SantuarioserenoconmujeryBuda.png?v=1792245613"},{"product_id":"m-camps-santiago-peregrino-tecnica-mixta-papel-1966","title":"M. Camps — “Saint James the Pilgrim” — Mixed media on paper, 1966","description":"\u003cp dir=\"auto\"\u003eRepresentation of \u003cstrong\u003eSaint James the Pilgrim\u003c\/strong\u003e, created in 1966 and signed “M. Camps”. The figure of the apostle appears full-length, holding a long staff and wrapped in a wide red cloak, set against an intense chromatic background dominated by blues, yellows, and reds.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe work combines a traditional religious composition with an interpretation clearly linked to the decorative aesthetics of the mid-20th century.\u003c\/p\u003e\n\n\u003ch3 dir=\"auto\"\u003eSaint James as a pilgrim\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eThe figure is depicted frontally, with a beard, tunic, cloak, and a long staff or walking stick. These elements refer to the traditional iconography of \u003cstrong\u003eSaint James the Greater as a pilgrim\u003c\/strong\u003e, one of the most widespread ways of representing the apostle.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe artist dispenses with landscape and complex religious narrative here to focus all attention on the figure. The character occupies almost the entire composition and acquires a monumental presence thanks to the vertical format.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eColor and decorative character\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eOne of the most striking elements of the work is the use of color. The intense blue of the background contrasts with the red of the cloak, while a yellowish and greenish area illuminates the upper right part of the composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe plant ornaments in the corners reinforce the decorative character of the piece and create a sort of pictorial frame around the central figure.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe execution combines transparent areas with others of more opaque color, making it more appropriate to catalog it as \u003cstrong\u003emixed media on paper\u003c\/strong\u003e than to limit it exclusively to watercolor.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eTechnical Data Sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e M. Camps.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eSaint James the Pilgrim\u003c\/em\u003e.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Descriptive, assigned for cataloging.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1966.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Mixed media on paper.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 45 × 29.5 cm.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed and dated “M. Camps. 66” at the bottom of the composition.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Religious art \/ Saint James the Apostle.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the 20th century.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eCondition:\u003c\/strong\u003e Good general condition consistent with its age. Slight signs of aging and small alterations are visible on the margins of the paper, as seen in the photographs.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWorkshop Note\u003c\/h2\u003e\n\u003cp\u003eThe figure of Saint James dominates the composition. The red of the cloak contrasts with the blue of the background, while the small ornamental elements frame the image and accompany its religious interpretation.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54768198615373,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0056_b17e3553-3568-4906-8795-0504afd484c9.jpg?v=1792246123"},{"product_id":"gaspar-riera-esglesia-sesgleieta-mallorca-tinta-1960","title":"Gaspar Riera — “The Church of s’Esgleieta” — Ink on paper, 1960","description":"\u003cp dir=\"auto\"\u003eOriginal ink drawing on paper by \u003cstrong\u003eGaspar Riera Moragues\u003c\/strong\u003e from 1960. The work depicts the church of \u003cstrong\u003eSanta Maria de l'Olivar de s'Esgleieta\u003c\/strong\u003e, a small rural hamlet belonging to the Majorcan municipality of Esporles.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRiera constructs the scene through direct and spontaneous drawing, focusing on the architecture, the roofs, the bell tower, and the surrounding vegetation. The chromatic economy allows all the expressiveness to fall upon the line and the rhythm of the stroke.\u003c\/p\u003e\n\n\u003ch3 dir=\"auto\"\u003eMallorca before becoming a subject\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eGaspar Riera developed almost his entire career around the Majorcan landscape. Born in Estellencs in 1922, he was an essentially self-taught artist who found his main source of work in the towns, fields, and paths of Mallorca.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis work is dated \u003cstrong\u003e1960\u003c\/strong\u003e, an early moment in his artistic evolution. During those years, Riera was still consolidating his own language which, throughout the following decade, would come to be characterized by the simplification of the landscape and an increasingly personal interpretation of the Majorcan territory.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe choice of s'Esgleieta is especially consistent with this attention to the island's rural corners. The artist does not depict a great monument, but rather a small church integrated into its everyday surroundings.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eThe church of Santa Maria de l'Olivar\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eThe building depicted is the church of \u003cstrong\u003eSanta Maria de l'Olivar\u003c\/strong\u003e, located in s'Esgleieta, a historic center in the municipality of Esporles.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRiera chooses a side view in which the bell tower, the long tiled roof, and the adjacent buildings stand out. The vegetation is introduced between the different architectural planes using quick, nervous strokes, avoiding an overly rigid representation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe drawing thus possesses a double interest: as a work on paper by Gaspar Riera and as a graphic testimony of a specific place in Mallorca at the beginning of the 1960s.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eTechnical Sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Gaspar Riera Moragues (Estellencs, 1922 – Palma, 1993).\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eL’església de s’Esgleieta\u003c\/em\u003e.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1960.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Ink on paper.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 35 × 48 cm.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Gaspar Riera” in the lower right corner.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Titled and dated on the reverse “L’Església de S’Esglaieta – 1960”.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Architectural landscape \/ Mallorca.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eLocation depicted:\u003c\/strong\u003e Church of Santa Maria de l'Olivar, s'Esgleieta, Esporles, Mallorca.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003ePeriod:\u003c\/strong\u003e Early stage of the artist's production.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eCondition:\u003c\/strong\u003e Good general condition consistent with its age. Small signs, occasional spots, and alterations typical of paper are visible in the photographs.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eThe Workshop Note\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eAn especially interesting piece within Gaspar Riera's production on paper for combining an \u003cstrong\u003eearly date, a perfectly identified location, and a generous format for a drawing\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe artist constructs the architecture with virtually no recourse to color: roofs, bell tower, trees, and walls are articulated through a quick line that conveys the impression of a sketch made directly from the subject.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDated 1960, the work allows for an approach to Riera before the full development of the landscape language for which he would be especially known in the following decades.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54771056804173,"sku":null,"price":190.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0171_01_1c15b68f-c479-49d0-93ef-b3f1b84d9cf1.jpg?v=1792247922"},{"product_id":"morato-aragones-paisaje-urbano-catalan-dibujo-tinta","title":"Josep Maria Morató Aragonès — “Mountain Village” — Ink on paper — Catalan School","description":"\u003cp dir=\"auto\"\u003eOriginal drawing by \u003cstrong\u003eJosep Maria Morató Aragonès\u003c\/strong\u003e, executed in ink on paper and dedicated to one of the great themes of his career: landscape and rural architecture.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition depicts a cluster of houses stepped along the terrain, dominated at the top by the silhouette of a church. Roofs, walls, and structures integrate with the mountainous relief through a rapid and expressive drawing style, characteristic of the more spontaneous aspect of the artist’s work.\u003c\/p\u003e\n\n\u003ch3 dir=\"auto\"\u003eLandscape in the work of Morató Aragonès\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eLandscape occupied a central position in the extensive career of Josep Maria Morató Aragonès. From his early years in Cornudella de Montsant, the artist developed a close relationship with the villages and mountains of the Catalan interior, subjects to which he would return repeatedly throughout his career.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHis painting evolved through contact with different European languages, combining the landscape tradition with a progressive simplification of forms and increasing freedom of stroke.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIn his drawings, this synthesis appears in a particularly direct way.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eThe strength of the line\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eThe work is constructed with virtually no color. The ink defines the facades, roofs, and bell tower through strokes of varying intensity, while lighter lines describe the mountains in the background.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMorató avoids rigid architectural representation. Some buildings are defined by bold outlines and intensely black areas, while other elements remain merely suggested.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis alternation between precise drawing and spontaneous line gives movement to the composition and turns the village into a structure of overlapping forms.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe large paper format also allows one to clearly appreciate the confidence of the stroke and the construction process of the scene.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eTechnical Data Sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Josep Maria Morató Aragonès (Reus, 1923 – Barcelona, 2006).\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eMountain Village\u003c\/em\u003e.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Descriptive, assigned for cataloging.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eChronology:\u003c\/strong\u003e Second half of the 20th century.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Ink on paper.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 35 × 50 cm.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Morató Aragonès” in the lower-left corner.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSchool:\u003c\/strong\u003e Catalan School.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eStyle:\u003c\/strong\u003e Expressive Figuration \/ Landscape painting.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Urban landscape \/ rural architecture \/ mountain village.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003ePeriod:\u003c\/strong\u003e Catalan art of the second half of the 20th century.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eConservation status:\u003c\/strong\u003e Good general condition consistent with its age, with minor signs and specific alterations inherent to the paper visible in the photographs.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eWorkshop Note\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eAn especially interesting work to appreciate \u003cstrong\u003eMorató Aragonès's facet as a draftsman\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWithout resorting to color, the artist structures the entire landscape through the line: the compact forms of the houses contrast with the free and almost abstract drawing of the mountains, while the church located at the top acts as the visual axis of the composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe result retains the spontaneity of a sketch made directly before the landscape and, at the same time, possesses sufficient development and size to function as an autonomous work.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54777373851981,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0258_42e48793-e0cb-4c47-999f-df9673bc61aa.jpg?v=1791592227"},{"product_id":"guillem-fresquet-paisaje-ermita-acuarela-original","title":"Guillem Fresquet — \"Landscape with Hermitage and Travelers\" — Original watercolor — Catalan School","description":"\u003cp dir=\"auto\"\u003eOriginal watercolor by \u003cstrong\u003eGuillem Fresquet Bardina\u003c\/strong\u003e dedicated to the Catalan rural landscape, featuring a small stone church or hermitage situated among mountains and two figures moving along a path.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe architecture occupies the center of the composition, standing out against a landscape constructed through successive planes of greens, blues, and earth tones. Fresquet makes particularly effective use of the transparency inherent in watercolor to separate the rocky foreground from the mountains in the background and produce a marked sense of depth.\u003c\/p\u003e\n\n\u003ch3 dir=\"auto\"\u003eThe landscape in the work of Guillem Fresquet\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eGuillem Fresquet developed much of his career around watercolor, a technique in which he achieved significant recognition within 20th-century Catalan painting.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHis production includes landscapes, villages, ports, markets, urban scenes, and rural motifs. In 1968, he also received recognition at the Villa de Palamós Painting Prize for a watercolor titled \u003cem\u003eSargint xarxes\u003c\/em\u003e, whose technical mastery was already highlighted by critics of the time. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe present work belongs precisely to this landscape tradition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition is structured around a path that enters the landscape diagonally and visually leads toward the church. The two small figures introduce a human scale and break the stillness of the scene.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eLight, stone, and atmospheric depth\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003eThe foreground is constructed using energetic brushstrokes of gray, blue, green, and earth tones that describe the rock without the need for a closed drawing.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe church, executed in brownish and grayish tones, serves as the visual center. Above it, the bell tower is silhouetted against a sky that is practically left as blank paper.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIn the background, Fresquet progressively reduces the contrast and uses bluish washes to represent the mountains, resorting to a classic procedure of atmospheric perspective especially suitable for watercolor.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe work shows a fluid and confident execution, with ample areas of the paper itself used as an active part of the composition.\u003c\/p\u003e\n\u003ch3 dir=\"auto\"\u003eGuillem Fresquet Bardina\u003c\/h3\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGuillem Fresquet Bardina (Barcelona, 1914–1991)\u003c\/strong\u003e was a painter and draftsman specializing particularly in watercolor.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHis exhibition activity developed from the mid-20th century, and his work was closely linked to the Catalan watercolor tradition. In \u003cstrong\u003e1973, he was commissioned to create views of Spanish cities for designs related to the Post Office\u003c\/strong\u003e, and he was also a co-author, alongside José M. Parramón, of the manual \u003cem\u003eHow to Paint in Watercolor\u003c\/em\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eTechnical data sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eAuthor:\u003c\/strong\u003e Guillem Fresquet Bardina (Barcelona, 1914–1991).\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eLandscape with hermitage and travelers\u003c\/em\u003e.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle type:\u003c\/strong\u003e Descriptive, assigned for cataloging.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Watercolor on paper.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eMeasurements:\u003c\/strong\u003e 32 × 45 cm.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Guillem Fresquet” in the lower right corner.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Presents handwritten cataloging notes on the reverse.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSchool:\u003c\/strong\u003e Catalan School.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eStyle:\u003c\/strong\u003e Figurative landscape.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Rural landscape \/ religious architecture \/ mountain.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003ePeriod:\u003c\/strong\u003e 20th century.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eCondition:\u003c\/strong\u003e Good general condition. The colors retain luminosity and contrast, with slight signs typical of age and handling of the support.\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eThe Workshop Note\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eA very representative watercolor of \u003cstrong\u003eGuillem Fresquet's\u003c\/strong\u003e landscape production, with a particularly balanced composition and an attractive combination of architecture, mountain, and human figure.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eNoteworthy is the technical economy with which the artist manages to separate the different planes: the rocks in the foreground appear defined by firm brushstrokes, while the mountain landscape progressively dissolves through soft bluish transparencies.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe church and the two travelers turn a simple rural view into a narrative scene, characteristic of the mid-20th-century Catalan landscape tradition.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54779289600333,"sku":null,"price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0327_01_c14fbc79-feef-4bb6-ac8e-5eb267fcb803.jpg?v=1789742043"},{"product_id":"david-roberts-giralda-sevilla-litografia-siglo-xix","title":"David Roberts — The Giralda of Seville — Colored lithograph — 19th century","description":"\u003cp dir=\"auto\"\u003eElegant \u003cstrong\u003ecolored lithograph after David Roberts (1796–1864)\u003c\/strong\u003e, depicting one of the most iconic views of Seville: \u003cstrong\u003ethe Giralda rising above the city's ancient urban fabric\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition is based on the drawings made by Roberts during his journey through Spain in 1832–1833 and was subsequently disseminated as part of his famous series of Spanish views. The architectural precision of the tower contrasts with the animation of the streets, balconies, and small figures occupying the foreground.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDavid Roberts was one of the fundamental figures of British Romanticism and one of the artists who contributed most to spreading the image of monumental 19th-century Spain internationally.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis view of the Giralda combines \u003cstrong\u003etopographical interest and romantic sensibility\u003c\/strong\u003e, featuring meticulous drawing and selective coloring in blues, greens, ochres, and reddish tones.\u003c\/p\u003e\n\u003ch2 dir=\"auto\"\u003eTechnical Data Sheet\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eArtist:\u003c\/strong\u003e David Roberts (1796–1864), after original drawing\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eThe Tower of the Giralda, Seville\u003c\/em\u003e\n\u003c\/li\u003e\n\n\n\u003cli\u003e\n\n\u003cstrong\u003eLithographer:\u003c\/strong\u003e William Gauci\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Colored lithograph\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 30 × 21 cm\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003ePeriod:\u003c\/strong\u003e 19th century\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eOriginal publication of the composition:\u003c\/strong\u003e London, 1837\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eStyle:\u003c\/strong\u003e Romanticism \/ Architectural landscape\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Seville \/ The Giralda\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003ePresentation:\u003c\/strong\u003e Trimmed print mounted on support\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cstrong\u003eCondition:\u003c\/strong\u003e Good general condition consistent with its age, with signs of the passage of time visible in the photographs\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2 dir=\"auto\"\u003eStudio Note\u003c\/h2\u003e\n\u003cp dir=\"auto\"\u003eAn attractive image of \u003cstrong\u003e19th-century Romantic Seville\u003c\/strong\u003e, where the monumentality of the Giralda is enhanced by the narrow urban perspective and the small figures in the foreground. The coloring adds special vibrancy without detracting from the detailed lithographic work.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54785913618765,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0366_9b2562d6-6cbb-43f5-b680-86f9d41e4c34.jpg?v=1789830952"},{"product_id":"antonio-santos-plaza-pueblo-linograbado-original-13-16","title":"Antonio Santos — Town Square — Original linocut 13\/16","description":"\u003cp\u003e\u003cspan\u003eOriginal linocut by Antonio Santos, signed and numbered in pencil, belonging to a small edition of only 16 copies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition depicts a town square or urban space of a popular nature, dominated by a religious building and several human figures. The scene is constructed through a marked contrast between the black masses and the reserved areas of the paper, creating an image of great graphic strength.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Work\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eSantos synthesizes buildings, trees, and figures using a deliberately schematic language. Angular contours, large black surfaces, and the elimination of secondary details turn the everyday scene into a composition with a strong visual personality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe square opens up in the foreground around several figures, while the church and houses close the composition in the background. The result combines a narrative component with a direct and expressive conception of relief printing.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAntonio Santos\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eAntonio Santos Lloro, born in Lupiñén, Huesca, in 1955, is a visual artist, printmaker, sculptor, writer, and illustrator. With a degree in Fine Arts from the University of Barcelona, he has developed an extensive artistic career characterized by the combination of different disciplines and a figurative language with a strong capacity for synthesis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis graphic production occupies a relevant place in his career, especially printmaking and illustration, fields in which he has developed a recognizable style based on formal simplification, contrast, and the expressiveness of the line.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical Specifications\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Antonio Santos Lloro\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Village Square\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Linocut on paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 40 × 31 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eEdition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 13\/16\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed in pencil in the lower right margin\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eNumbering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 13\/16 in pencil in the lower left margin\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSubject:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Urban scene \/ village landscape\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good general condition, with slight signs of age consistent with the paper and its antiquity\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Private collection\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Studio Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eA particularly attractive work due to its limited edition of only 16 copies. The composition brings together several of the characteristic features of Antonio Santos's graphic language: formal synthesis, strong contrast between black and white, and a figuration that appears simple but is carefully structured.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe architecture and human figures also provide a narrative component that makes this piece especially representative of his graphic work.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54833449894221,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0065_bea37f74-8070-41c2-b7de-b8b9cc0f1512.jpg?v=1792677480"},{"product_id":"pascual-bueno-ferrero-marina-mediterranea-grabado-papel-guarro","title":"Pascual Bueno Ferrer — Mediterranean seascape, probably Cadaqués — Etching on Guarro paper","description":"\u003cp\u003e\u003cspan\u003eGraphic work by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePascual Bueno Ferrer\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, dedicated to one of the great themes of Mediterranean landscape painting: the relationship between the sea, boats, and coastal architecture.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe composition shows several boats distributed across a bright bay, with a cluster of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ewhite houses and a raised church\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in the background, sheltered by the dark profile of the mountains. Due to its urban and landscape configuration, the scene could correspond to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCadaqués\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, although we prefer to keep this identification as probable since there is no written title on the piece.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003e\u003cspan\u003eA Mediterranean seascape\u003c\/span\u003e\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eBueno Ferrer constructs the landscape using very clear planes. The dark boats in the foreground guide the eye toward the water, treated with small luminous reflections, while the white village in the background focuses the light of the composition.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe range of blues, greens, ochres, and earth tones provides a serene and very Mediterranean atmosphere. Despite being a graphic work, it retains an evident pictorial sensibility in its treatment of color and surface.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003e\u003cspan\u003eGuarro paper\u003c\/span\u003e\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eThe print is made on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGuarro paper\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a Spanish medium traditionally linked to drawing and graphic work. Its texture and quality allow for good line definition while simultaneously preserving the richness of the different tones used in the printing.\u003c\/span\u003e\u003c\/p\u003e\u003ch2\u003e\u003cspan\u003eTechnical Data Sheet\u003c\/span\u003e\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Pascual Bueno Ferrer\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMediterranean Seascape, probably Cadaqués\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Color engraving\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSupport:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Guarro paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 49.5 × 64 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTheme:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Seascape and coastal landscape\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Second half of the 20th century\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eStyle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Mediterranean landscape\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good general condition, with normal signs of age consistent with a vintage graphic work.\u003c\/span\u003e\u003c\/p\u003e\u003ch2\u003e\u003cspan\u003eWorkshop Note\u003c\/span\u003e\u003c\/h2\u003e\u003cp\u003eThe light band of water separates the boats from the line of white houses that stretches along the coast. The masts and the bell tower introduce vertical accents against the horizontal development of the village and the hillsides. The dark mountains make the architecture stand out, while the rocks on the right bring a foreground to the edge of the image. The texture of the color remains visible in both the sky and the slopes.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54924167938381,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0283_10f56282-f2f1-461e-800d-9cec45276659.jpg?v=1790794918"},{"product_id":"dos-vistas-el-escorial-pareja-grabados-calcograficos-color","title":"Two views of El Escorial — pair of color chalcographic prints on paper","description":"\u003cp\u003e\u003cspan\u003eTwo images of the same monument, constructed from completely different points of view.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the first print, the Monastery of San Lorenzo de El Escorial appears as a grand longitudinal piece of architecture. The gaze follows the facade until it reaches the powerful tower that dominates the end of the building, crowned by a spire that is silhouetted against a sky barely tinged with blue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe second composition zooms in on the complex. The great dome of the basilica emerges among roofs, towers, and superimposed architectural bodies, while a stone wall and a small area of vegetation introduce depth into the foreground.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSeen together, the two prints offer an especially complete reading of the monument: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eone presents its scale and exterior severity; the other, the complexity of its volumes and profiles\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eArchitecture turned into line\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe focus lies almost entirely on the drawing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTowers, cornices, windows, roofs, and ashlar blocks are described through a fine and precise hatching, yet without reaching the coldness of an architectural reproduction. The line maintains small variations and a certain manual vibration that continuously reminds us that we are looking at a print made using traditional graphic procedures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eColor is used in an extremely restrained way.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA very pale greenish-blue occupies the skies of both compositions and, in one of them, some greens discreetly mark the vegetation located in front of the monastery. The rest is left to the warm tones of the ink and the natural white of the paper.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis chromatic economy allows the architecture to retain all of its presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eTwo ways of looking at El Escorial\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe two works seem to have been conceived as part of the same series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThey share dimensions, graphic treatment, handwritten title, type of paper, dry seal, and a limited edition of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e100 copies\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne print is numbered \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e75\/100\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and the other \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e91\/100\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, so they do not form a matching-number pair, but they clearly belong to the same edition or graphic set.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeneath both images, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\"El Escorial\"\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is written in pencil, accompanied by an equally handwritten signature in the lower right margin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe identity of the engraver has not been able to be established documentarily with sufficient certainty, so we have preferred to keep the work as it is presented: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo signed and numbered prints whose graphic quality can be valued independently of an as-yet-unresolved attribution\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe monastery as a graphic motif\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eSince its construction in the 16th century, the Monastery of San Lorenzo de El Escorial has been one of the great themes of Spanish architectural imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts geometry, the long facades, the angular towers, and the great dome of the basilica offer a visual repertoire especially suited to engraving.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese two prints continue that tradition from a contemporary sensibility. They do not seek a spectacular panoramic reconstruction, but rather two restrained and almost silent framings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wide margin surrounding the images reinforces that sensation: the buildings are isolated on the paper, as if the stone had been separated from its surroundings to be observed with greater attention.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eTwo Views of El Escorial\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eNumber of works:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 2\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Color intaglio engraving on paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eEdition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Limited run of 100 copies\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eNumbering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 75\/100 and 91\/100\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 24 × 20 cm each sheet\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Both prints signed in pencil with a signature not documentarily identified\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eInscriptions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \"El Escorial\", handwritten in pencil beneath both images\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eMark:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Embossed dry seal present on both sheets\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSubject:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Royal Monastery of San Lorenzo de El Escorial\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eChronology:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Second half of the 20th century\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good general condition according to the available images\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eStudio Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eWe are especially interested in the fact that the two prints do not repeat the same vision of the monument.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first lets the architecture extend horizontally until culminating in the tower; the second approaches the basilica and makes the great dome the center of the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eColor appears merely as a suggestion. Blue for the air, green for the vegetation, and the rest entrusted to the line.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether they work better than separately: two different looks at the same place, within a careful, signed, numbered, and dry-stamped edition.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54941919019341,"sku":null,"price":100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0353_dc26e3b8-14ec-4bf1-9bc7-22003fe015c4.jpg?v=1791041189"},{"product_id":"federico-marioni-milano-duomo-c-1920-1930-aguafuerte-y-aguatinta-a-color-sobre-papel","title":"Federico Marioni — Milano - Duomo, c. 1920–1930 — color etching and aquatint on paper","description":"\u003cp\u003e\u003cspan\u003eThe Duomo of Milan emerges over the square like an almost impossible piece of architecture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFederico Marioni chooses an oblique view that allows for a simultaneous contemplation of the facade, the interminable lateral development of the building, and the forest of spires that cuts its profile against the sky. At its feet, small figures and carriages cross the square, reduced to a few strokes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe difference in scale is deliberate: against the enormity of the cathedral, daily life continues, almost diminutive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOver the meticulous drawing of the architecture, Marioni introduces an intense blue sky and small accents of color on windows and figures. The combination transforms a topographical view of Milan into a much more atmospheric image.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eMilan from an engraver's workshop\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eMarioni knew the city not as a visitor, but as his workplace.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSettled in Milan since the end of the 19th century, he developed much of his career there and founded his own \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCalcografia di Milano\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a workshop that achieved considerable prestige during the first decades of the 20th century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe city and its monuments became natural motifs for his work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMilano - Duomo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, documentary interest coexists with a sensibility very different from photography. Each spire, buttress, and window has been constructed through an enormous accumulation of lines, but the sky and the color introduce a much freer dimension.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is not just about registering what the building is like. Marioni also attempts to preserve \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehow it appears to someone entering the square\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eA particular way of working with color\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most interesting aspects of Federico Marioni's production was precisely his treatment of color prints.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artist developed a personal printing procedure with which he could obtain chromatic variations between different copies from the same matrix. The result could acquire an appearance close to watercolor or monotype, moving away from the habitual uniformity of a mechanical run.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn this sheet, it is especially visible in the sky: the blue does not function as a simple flat fill, but as an irregular and atmospheric surface, with denser areas and others deliberately left open.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe small reddish and bluish touches distributed through the windows then add depth to an architecture dominated by earth tones, blacks, and whites.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eFederico Marioni\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFederico Marioni (Claro, 1866 – Milan, 1938)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e was an engraver, lithographer, and printer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter beginning his training in Switzerland, he worked for several years in Paris and later spent time in Turin before settling permanently in Milan around 1893.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere he opened the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCalcografia di Milano\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, from where he carried out activities both as an independent engraver and as a printer for other artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArchitecture and cities occupied a prominent place within his production. Milan, Venice, Rome, Florence, and various Italian towns appear repeatedly in his etchings and aquatints, generally treated with a combination of drawing precision and atmospheric color effects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis work is currently represented in Italian public collections, including the Civiche Raccolte Grafiche e Fotografiche of the Castello Sforzesco in Milan.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Federico Marioni\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMilano - Duomo\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eChronology:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e circa 1920–1930\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Color etching and aquatint on paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 24 × 20 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed in pencil in the lower right margin\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eInscription:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \"Milano - Duomo\" in pencil in the lower left margin\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSubject:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Milan Cathedral and Piazza del Duomo\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSchool:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Italian\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e First half of the 20th century\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Uneven state of preservation. It shows general aging of the support, stains, and a significant water mark in the upper right sector, in addition to a tear or fissure in the upper margin that reaches that area. The image maintains, however, a good general legibility and intense coloration.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eWorkshop Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThere is something particularly attractive about these old city prints: they show monuments that we still recognize immediately, but they return them to a completely different world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn front of Marioni's Duomo, carriages still circulate. Figures cross an open square slowly, and the enormous Gothic architecture seems to occupy almost the entire horizon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut perhaps the most interesting thing is the color.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMarioni turned engraving into something less repeatable than usual. His ink and color variations meant that copies from the same matrix could acquire their own personality. On this sheet, the great blue sky transforms an extremely precise architectural view into a surprisingly luminous image.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54941921739085,"sku":null,"price":140.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0418_346e472b-7fe1-4905-968d-e183e7159c86.jpg?v=1791041891"},{"product_id":"rhys-paris-rue-saint-julien-le-pauvre-aguafuerte-aguatinta","title":"Rhys — Paris, Rue Saint-Julien-le-Pauvre, ca. 1930 — color etching and aquatint on paper","description":"\u003cp\u003e\u003cspan\u003eView of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003erue Saint-Julien-le-Pauvre in Paris\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, created during the first half of the 20th century and signed in pencil \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Rhys”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in the lower right margin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition depicts one of the historic corners of the Latin Quarter, with the towers of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNotre-Dame de Paris\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e dominating the background of the scene. The perspective of the street leads the eye toward the cathedral while, in the foreground, old buildings, walls, vegetation, and architectural elements are rendered through meticulous linework.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe image was created using \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eintaglio processes, primarily color etching and aquatint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a technique that allows for the combination of the linear precision of drawing with tonal surfaces of varying intensity. The plate mark remains clearly visible around the image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe color palette remains deliberately restrained, dominated by browns, ochres, greens, and a soft greenish-blue used in the sky. Standing out against these tones are two small figures dressed in red. Particularly singular is the figure located on the right, depicted \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eseated before an easel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, introducing the figure of the artist himself into the urban view.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe architecture is worked with special attention using parallel lines, cross-hatching, and different densities of etching, while the aquatint provides the shadow masses of the facades, the pavement, and the vegetation. The work aligns with the tradition of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eviews of old Paris created by printmakers during the first decades of the 20th century\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, when the historic streets of the city were a recurring motif for both French artists and numerous foreign authors established or temporarily active in Paris.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the bottom of the plate itself, the following inscription appears:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e«Paris. – Rue Saint Julien le Pauvre»\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe signature \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Rhys”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, written in pencil outside the plate, corresponds to the artist’s hand and is not part of the printing process.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe signature “Rhys” and its possible relationship with Rhys Jenkins\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eIn the European and British markets, various prints of cities appear signed simply \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Rhys”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e that present significant similarities to this work: meticulously drawn architectural views, use of etching and aquatint, brown and greenish palettes, small points of bright color, and an abbreviated handwritten signature of very similar characteristics.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSome of these works have historically been marketed under the name of the British artist \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRhys Jenkins\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and some auction houses have used formulas such as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Rhys, probably Rhys Jenkins”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, there is currently not enough published documentation to unequivocally prove that all these prints signed only “Rhys” belong to Jenkins. Furthermore, there are differences between some signatures documented under his full name and the abbreviated signature used in this group of European views.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor this reason, and with the goal of maintaining rigorous cataloging, the work is presented under the name that actually appears on the piece:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRhys\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe possible identification with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRhys Jenkins\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e remains a reasonable research hypothesis, but not a definitive attribution.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical Sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Rhys\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePossible attribution:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Traditionally related to Rhys Jenkins, without definitive documentary confirmation\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eParis – Rue Saint-Julien-le-Pauvre\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e ca. 1930\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e First half of the 20th century\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Color etching and aquatint on paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSupport:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 25 × 31 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed in pencil “Rhys” in the lower right margin\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eInscription:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e “Paris. – Rue Saint Julien le Pauvre”, inside the plate\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eLocation depicted:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Rue Saint-Julien-le-Pauvre, Paris\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eElements depicted:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Notre-Dame de Paris, architecture of the Latin Quarter, and the figure of a painter before his easel\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eCondition consistent with its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe paper shows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003egeneral oxidation, small foxing spots, and signs of old mounting\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, especially visible in the margins. Some lightened areas are also observed, likely related to a previous mounting or fixation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn old strip of paper remains adhered to the reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe printed surface maintains good legibility, with both the drawing and the various tones used in the print preserved correctly. The handwritten signature remains equally visible.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eWorkshop Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most attractive elements of this print is the way it combines a meticulous architectural representation with a carefully studied composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNotre-Dame is deliberately shifted toward the background, avoiding making the cathedral the sole protagonist. The path of the street, the trees, and the foreground buildings create successive planes of depth that visually lead toward it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe small figure of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epainter working before his easel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, marked in intense red, also constitutes an especially interesting detail. His presence transforms the scene into something more than a simple urban view and recalls the importance that these corners of old Paris had for generations of painters and printmakers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe “Rhys” signature allows the piece to be related to a known group of European prints traditionally associated with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRhys Jenkins\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, although the absence of definitive documentation advises keeping this identification open.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54973385539917,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0055_1d920be6-f8a8-4479-9588-e2ba9e97bb94.jpg?v=1791373409"},{"product_id":"n-del-moral-monasterio-sant-cugat-tinta-cartulina","title":"N. del Moral. Monastery of Sant Cugat del Vallès, mid-20th century. Ink on cardstock","description":"\u003cp\u003e\u003cspan\u003eArchitectural view of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMonastery of Sant Cugat del Vallès\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, centered on the monumental façade of its church and the large Gothic rose window that dominates the complex. The composition also incorporates the surrounding buildings and walls, with trees and vegetation in the foreground, constructing an especially detailed vision of the monumental site.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eN. del Moral works using a dense combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epen-and-ink, parallel hatching, and cross-hatching\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, reserving the white of the support to define the light and accumulating ink in the areas of greatest depth. The technique is particularly effective in the representation of stone: every wall, opening, and architectural element acquires volume through changes in the density and direction of the stroke.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe large rose window constitutes the focal point of the composition. Around it, the irregularity of the trees and the network of structures breaks the strict geometry of the architecture and gives the scene a more vivid character than that of a simple documentary representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eN. del Moral and an identified signature\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe work is signed \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\"N. del Moral\"\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in the lower right corner. Comparison with other known drawings under this same signature allows the reading to be considered practically certain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSeveral pen-and-ink drawings attributed to N. del Moral are preserved in the market, including works dated to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1949\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, of similar dimensions and technical procedure. In them, both the spelling of the signature and a very characteristic way of representing buildings through a meticulous accumulation of lines, cross-shadows, and small vertical strokes are repeated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor the moment, it has not been possible to document the artist's full identity, so it is more rigorous to maintain the authorship in the form \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eN. del Moral\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e with which they signed their works.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e N. del Moral\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMonastery of Sant Cugat del Vallès\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eChronology:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Mid-20th century, probably around the 1940s–1950s\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Pen and ink on cardstock\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 23.5 × 34 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed \"N. del Moral\" in the lower right corner\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSubject:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Architecture \/ urban landscape \/ Monastery of Sant Cugat del Vallès\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eState of preservation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Condition consistent with its age. Oxidation and small stains are observed on the support, as well as irregularities and wear on the edges and some small peripheral loss, without significantly affecting the main motif.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Workshop Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe identification of the signature is especially interesting because there are other works by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eN. del Moral dated to 1949\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e that present a script and technique very close to those of this piece. The work can be reasonably placed in that chronological context, although it does not present a visible date.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe identification of the monument as the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMonastery of Sant Cugat del Vallès\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e also adds a historical and local component to an especially worked pen-and-ink drawing, in which architecture and vegetation are integrated through a meticulous and very graphic execution.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54973715939661,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0082_6b45d2b1-bb44-44b2-8a86-a1c9600ee516.jpg?v=1791376186"},{"product_id":"bauca-agudes-camino-arbolado-iglesia-1980-aguafuerte","title":"Baurà Agulles — Tree-lined path to a church, 1980 — etching on Guarro paper","description":"\u003cp\u003e\u003cspan\u003eOriginal etching dated 1980 depicting a rural path flanked by trees and stone walls, in the background of which appears a religious structure with a small bell tower.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition stands out for its perspective, which leads the eye from the wide path in the foreground toward the building situated in the distance. Vegetation occupies a large part of the image and is represented through an elaborate network of lines and small strokes that define the crowns, trunks, and shadows cast upon the ground.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe engraver combines areas of intense linear concentration with much lighter surfaces, achieving a balanced contrast between the vegetation, the sky, and the architecture. The handling of the plant textures demonstrates a competent grasp of the graphic possibilities of etching.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe print is signed in pencil in the lower right margin, with a signature that is likely read as \"Baurà Agulles.\" The lower left margin bears the indication \"P\/A,\" corresponding to an artist's proof, while the inscription \"Aguafuerte 1980\" is preserved in the center.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe complete identity of the engraver has not been documentarily established.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Baurà Agulles (signature likely to be read as such).\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Tree-lined path towards a church.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 1980.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Etching.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSupport:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Guarro paper.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 25 × 26 cm, according to provided information; distinction between sheet and platemark pending.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEdition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e P\/A — artist's proof.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed in pencil in the lower right margin.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eInscriptions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \"Aguafuerte 1980\".\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Apparent good general condition, with slight signs of aging and minor superficial alterations visible in the margins. The image retains good definition.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003eWorkshop Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe peculiarity of this print lies in the treatment of the vegetation through a very meticulous hatching, which contrasts with the simplicity of the architecture located at the end of the path.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts status as an artist's proof and the handwritten inscription from 1980 provide documentary interest to a graphic work representative of late 20th-century figurative landscape.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54985350349133,"sku":null,"price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0252_d4d1a389-ffd3-47be-8918-a7645b5088c7.jpg?v=1791470878"},{"product_id":"bauca-agudes-iglesia-entre-arboles-y-muro-de-piedra-1979-aguafuerte-sobre-papel-guarro","title":"Baurà Agulles — Church among trees and stone wall, 1979 — etching on Guarro paper","description":"\u003cp\u003e\u003cspan\u003eOriginal etching dated 1979 depicting a religious building partially hidden by a grove of trees, situated behind a stone wall in a Mediterranean-style landscape.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition is organized around the architecture in the background, whose tower emerges from among the treetops. In the foreground, a wide wall built with irregular stones establishes a separation between the path and the wooded enclosure, while the vegetation introduces different levels of depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe artist gives special importance to the treatment of textures. The trees are rendered through a complex combination of fine lines, stippling, and shading that contrast with the more geometric surface of the wall. The white reserves and the variable intensity of the ink allow for the differentiation of the architectural and natural planes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe scene maintains a descriptive and documentary character, close to the tradition of late 20th-century landscape and architectural etchings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe print bears a handwritten signature that is likely read as \"Baurà Agulles,\" the annotation \"Aguafuerte 1979\" (Etching 1979), and the indication \"P\/A,\" which identifies the copy as an artist's proof.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical Data Sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Baurà Agulles (signature likely read as).\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Church among trees and stone wall.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDate:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 1979.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Etching.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSupport:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Guarro paper.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 25 × 26 cm, according to provided information; individual measurements pending verification.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEdition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e P\/A — artist's proof.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Signed in pencil in the lower right margin.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eInscriptions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \"Aguafuerte 1979\".\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Apparent good condition, with slight superficial signs of aging. The print maintains a sharp impression and clear legibility of details.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003eStudio Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThis etching stands out for the attention paid to the construction of the vegetation and its relationship with the architecture. The contrast between the densely drawn treetops, the stone wall, and the tower emerging in the background gives the scene remarkable depth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe work is part of a set of three etchings related by their technique, signature, and chronology, dated between 1979 and 1980.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":54985359229261,"sku":null,"price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0255_32921060-b979-4fdf-ae39-d4d9889146d2.jpg?v=1791471003"},{"product_id":"radip-tandukar-nepal-tibet-panorama-himalaya-acrilico","title":"Radip Tandukar — Nepal and Tibet: A Himalayan Cultural Panorama — Acrylic on board","description":"\u003cp\u003e\u003cspan\u003eOriginal painting by Nepalese artist \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRadip Tandukar\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, executed in acrylic on board. The work presents an extensive panoramic composition that brings together religious architecture, high mountain landscapes, traditional settlements, scenes of daily life, and a rich representation of the fauna of the Himalayas and the lowlands of Nepal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOf extraordinary detail and vivid color, the painting organizes countless scenes within a single surface, building a visual journey through the region's cultural and natural heritage.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eFrom Tibet to the Kathmandu Valley\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eIn the upper part, monumental complexes inspired by Tibetan architecture appear, including a structure reminiscent of the Potala Palace in Lhasa. The buildings, with white walls and ornate roofs, are set against reddish mountains and a sky of soft, warm tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBelow, an imposing mountain range of snow-capped peaks gives way to landscapes of green hills, forests, and waterways. Small figures traverse the paths, while others navigate the rivers or engage in various daily activities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe central area presents an extensive succession of dwellings, pagodas, and Buddhist stupas, inspired by the traditional architecture of the Kathmandu Valley. A large stupa adorned with multicolored prayer flags stands out, surrounded by buildings and popular scenes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the lower third, the settlements and monuments give way to lush nature, inhabited by tigers, deer, monkeys, elephants, and other animals. This latter realm evokes the natural wealth of the Nepalese subtropical regions.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eA painting of narrative tradition\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe work combines elements of Nepalese folk painting with a detailed depiction of landscapes, architecture, and human figures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts spatial organization does not respond to conventional geographic perspective. The different places appear superimposed in successive bands, allowing for the gathering of monuments, regions, and activities that in reality are separated by great distances.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDark outlines, the precision of small ornamental motifs, and the application of intense colors create a composition of great visual richness. Each section functions as a small autonomous scene, integrated within a carefully organized whole.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eRadip Tandukar\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eRadip Tandukar is a Nepalese artist whose documented production includes Himalayan landscapes and compositions linked to Buddhist iconography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAmong his known works are depictions of the Ama Dablam massif and Tibetan-inspired mandala paintings, created using techniques such as oil, gouache, and acrylic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present work reflects his interest in the landscape, religious architecture, and cultural traditions of the Himalayas, gathering them into a panoramic composition of a narrative and decorative nature.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical sheet\u003c\/span\u003e\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthor:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Radip Tandukar.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDescriptive title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Nepal and Tibet: cultural panorama of the Himalayas.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Contemporary.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Acrylic.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSupport:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Board.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 40.5 × 28 cm.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \"R. TANDUKAR\", in the lower right corner.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSubject matter:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Himalayan landscape, religious architecture, cultural heritage, popular scenes, and fauna.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Good general visual condition, with slight surface irregularities and small signs of use, without significant loss of paint visible in the photographs.\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003e\u003cspan\u003eWorkshop Note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eWe especially highlight the extraordinary wealth of detail and the particular narrative organization of this painting. From the monumental architecture of Tibet to the temples of the Kathmandu Valley and the forests populated by animals, Radip Tandukar manages to bring together different landscapes and traditions in a single composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe meticulousness of the figures, the vividness of the colors, and the multiplication of small scenes make the work an attractive visual interpretation of the cultural and natural heritage of the Himalayas.\u003c\/span\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":55005471768909,"sku":null,"price":150.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0220_7a385b35-c729-420e-8efa-40590475a5df.jpg?v=1791556772"}],"url":"https:\/\/eltallerdelcoleccionista.com\/en\/collections\/arte-sacro-y-religioso.oembed?page=3","provider":"El taller del coleccionista","version":"1.0","type":"link"}