{"title":"Works on paper","description":"\u003cp\u003eThis collection brings together works on supports that preserve a particularly direct trace of the creative process. Drawings, watercolours, inks, gouaches, pastels, prints and mixed-media works explore the figure, landscape and abstraction. Each artwork page records the technique, support, dimensions, signature, date, provenance and condition where these details can be verified.\u003c\/p\u003e\u003cp data-taller-artists=\"collection\"\u003e\u003cstrong\u003eArtists with works in this collection:\u003c\/strong\u003e \u003ca href=\"\/en\/pages\/antonio-santos\"\u003eAntonio Santos\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/josep-m-draper\"\u003eJosep M.ª Draper\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/j-carbonell\"\u003eJ. Carbonell\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/jordi-pagans-montsalvatge\"\u003eJordi Pagans Montsalvatge\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/ricard-opisso-i-sala\"\u003eRicard Opisso i Sala\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/david-mercade-recasens\"\u003eDavid Mercadé Recasens\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/francesc-todo\"\u003eFrancesc Todó\u003c\/a\u003e, \u003ca href=\"\/en\/pages\/joan-soler-jove\"\u003eJoan Soler-Jové\u003c\/a\u003e.\u003c\/p\u003e","products":[{"product_id":"patrick-loste-composicion-abstracta-jinete-telurico","title":"Patrick Loste — Rider among Mountains — Mixed media on cardboard","description":"\u003cp\u003eThe horse, rider and mountains are inseparable from the imagery of Patrick Loste (Perpignan, 1955). In this composition, the French artist brings together three of his characteristic motifs in a painting with a strong material presence, where figures emerge from a landscape of ochres, blacks and blues.\u003c\/p\u003e\u003cp\u003eThe horse's head faces left, while the rider behind it merges into a broad dark mass. Both are formed through areas of pigment, incisions and pale strokes that interrupt the paint surface. Behind them extends a mountainous landscape in golden and earthy tones, crowned by a narrow blue band suggesting the sky.\u003c\/p\u003e\u003cp\u003eThe work moves between figuration and abstraction. The horse and rider remain recognisable, but their outlines merge with the textures of the ground. The mountains participate in the same pictorial energy as the figures, rather than serving merely as a backdrop.\u003c\/p\u003e\u003ch2\u003eA painter's life among horses and mountains\u003c\/h2\u003e\u003cp\u003eLoste's relationship with horses provides a context for his painting. Fascinated by them since childhood, he began drawing them at an early age. At sixteen, he sold a series of horse drawings at an exhibition in Céret, an experience that anticipated his artistic career.\u003c\/p\u003e\u003cp\u003eLater, during his time in Barcelona, he trained as a farrier, a profession that kept him in direct contact with horses before he became established as a painter.\u003c\/p\u003e\u003cp\u003eHe now lives and works in the Albères mountains of southern France, surrounded by nature and horses living in semi-freedom. These surroundings have become a continuing source of inspiration.\u003c\/p\u003e\u003cp\u003eHis painting explores the relationship between people, animals and landscape. Layers of pigment, energetic strokes and richly textured surfaces create compositions in which figures seem to emerge from the earth itself.\u003c\/p\u003e\u003ch2\u003eExhibitions and recurring motifs\u003c\/h2\u003e\u003cp\u003eLoste has an extensive exhibition history dating from the 1980s. His work has been shown at institutions including the Musée d'Art Moderne de Céret, the Musée Hyacinthe Rigaud in Perpignan and the Musée des Beaux-Arts in Carcassonne, as well as in international exhibitions and fairs.\u003c\/p\u003e\u003cp\u003eHis approach combines figurative representation with experimentation in paint and texture. Horses and riders are among the recurring images of his work.\u003c\/p\u003e\u003cp\u003eThis composition brings human and animal presence into the mountain landscape through a painting that emphasises material, movement and an evocation of place.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Patrick Loste (Perpignan, France, 1955).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Rider among Mountains (descriptive title).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Mixed media on cardboard.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 52 × 35 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Contemporary work, undated.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Loste” in the upper left.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Horse and rider, mountain landscape, contemporary figuration.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. Pronounced surface texture and irregular edges are characteristic of the support and execution.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Unframed.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe ochres of the mountains contrast with the dark mass of the horse and rider. Incisions and pale strokes run through both areas, so that figures and landscape share the same texture. The blue band along the upper edge creates a pause between the terrain and the sky.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52377829245261,"sku":null,"price":725.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0096_1e9ad4ad-661e-4393-b437-07ba3d973dc3.jpg?v=1791805300"},{"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":"j-fin-jose-vilato-composicion-abstracta-oleo-acrilico-escuela-paris","title":"Attributed to J. Fin (José Vilató) — Abstract composition — Oil and acrylic","description":"\u003cp\u003eBalance and material in the School of Paris. A period work reflecting the structural, restrained abstraction associated with José Vilató’s circle and an artistic independence from Picasso’s legacy.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJ. Fin’s individual identity\u003c\/strong\u003e José Vilató Ruiz, known artistically as J. Fin (1916–1969), faced the challenge of developing his own voice while sharing family ties and a studio with his uncle, Pablo Picasso. This abstract composition, attributed to him on the basis of strong technical and formal similarities, reflects the creative maturity associated with the post-war School of Paris. The work seeks the construction of an autonomous space, grounded in expressive gesture and compositional solidity, rather than imitation.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eStructure and colour palette\u003c\/strong\u003e The work has a clearly defined internal architecture. Black strokes anchor and organise the picture plane, allowing vibrant blue and off-white patches to interact freely across a richly textured surface. Oil and acrylic give the brushwork evident body and physical weight, avoiding flatness. The restrained, elegant palette reflects the aesthetic of post-war France, prioritising visual balance over strident colour.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Attributed to J. Fin (José Vilató Ruiz, 1916–1969).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e Untitled (abstract composition).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Mid-20th century (School of Paris).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Period oil and acrylic on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 28 × 38 cm (work) | 49 × 56 cm (with frame).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Bears the inscription “J. Fin” in the lower right 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 Very good. Natural patina consistent with its age. Framed with a quality mount and a gilt frame.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe work’s force lies in its complete lack of artifice. It conveys the work of a painter with command of the craft, achieving a solid structure with an enviable economy of means. It is pure painting: colour, material and balance.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52785939611981,"sku":null,"price":750.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0039-removebg-preview.png?v=1790858846"},{"product_id":"patrick-loste-dos-figuras-tecnica-mixta-original","title":"Patrick Loste — Two Figures (1983) — Mixed media on paper","description":"\u003cp\u003e\u003cem\u003eTwo reclining figures amid orange areas and blue strokes.\u003c\/em\u003e\u003c\/p\u003e\u003ch2\u003eThe artist and the work\u003c\/h2\u003e\u003cp\u003ePatrick Loste (Perpignan, 1955) lives and works in the Albères, in the Pyrénées-Orientales. During his early years in Barcelona, he combined painting with training as a farrier, a trade connected with his interest in horses.\u003c\/p\u003e\u003ch2\u003eComposition\u003c\/h2\u003e\u003cp\u003eTwo reclining figures occupy almost the entire sheet. Their profiles and bodies are drawn in black and blue lines, while broad orange areas unite their forms against a pale ground.\u003c\/p\u003e\u003ch2\u003eColour and line\u003c\/h2\u003e\u003cp\u003eBlue stands out in lines and patches that cross the bodies and extend across the lower area. Violet, green and grey nuances also appear. The alternation of fine contours and broader strokes gives movement to the composition.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Patrick Loste (b. 1955)\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Untitled (Couple \/ Two Figures)\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1983\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Mixed media on paper\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 32 × 44 cm\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed at the lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e The reverse has ochre stains visible in the photographs.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe proximity of the two figures focuses attention on the relationship between their profiles and the drawing of their bodies. Orange forms a continuous field crossed by blue strokes in several directions. In the lower area, lines overlap violet and green patches; towards the top, the pale ground leaves more space around the heads. The signature and date “Loste 83” appear at the lower right.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52792963432781,"sku":null,"price":295.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0245_01_61df6587-82ac-4c55-938b-23db9d015ad0.jpg?v=1792249118"},{"product_id":"francois-boucher-etude-champetre-grabado-frances-siglo-xix","title":"After François Boucher — “Étude Champêtre” — Coloured etching — French School, 19th century","description":"\u003cp\u003eA French print inspired by the pastoral imagery of François Boucher (1703–1770), a leading figure of French Rococo. Shepherds, young couples, flocks and fanciful architecture inhabit an idealised landscape with a distinctly eighteenth-century character.\u003c\/p\u003e\u003cp\u003eFine lines and hatching form the composition, later enriched with delicate blue, green, pink and white highlights that accent selected figures and landscape features.\u003c\/p\u003e\u003ch2\u003eThe Rococo pastoral\u003c\/h2\u003e\u003cp\u003eDuring the eighteenth century, Boucher made the gallant pastoral one of his characteristic subjects. His landscapes construct an ideal world of elegant shepherds, young lovers, animals and fanciful buildings rather than a documentary record of rural life.\u003c\/p\u003e\u003cp\u003eThis composition follows that imagery. Small human scenes unfold in the foreground: a young man carries a girl, another couple reclines among the vegetation, and several animals occupy the centre. Trees, buildings and architectural changes of level extend the landscape in depth.\u003c\/p\u003e\u003ch2\u003ePrints after Boucher\u003c\/h2\u003e\u003cp\u003eThe wide circulation of Boucher's work led numerous artists to translate his compositions into prints during the eighteenth century and afterwards.\u003c\/p\u003e\u003cp\u003eHere, detailed parallel, crossed and curved lines build the architecture, vegetation, clothing and water surfaces. Small colour highlights interrupt the predominantly monochrome impression and accent the scene.\u003c\/p\u003e\u003cp\u003eThe lower right margin bears the printed inscription “Étude Champêtre à l’Eau-forte de BOUCHER”.\u003c\/p\u003e\u003ch2\u003eFrançois Boucher\u003c\/h2\u003e\u003cp\u003eFrançois Boucher (Paris, 1703–1770) was a central figure of French Rococo. A painter, draughtsman and printmaker, he produced mythological scenes, allegories, pastorals and gallant subjects.\u003c\/p\u003e\u003cp\u003eHis images circulated widely in print. Alongside his own etchings, numerous French engravers reproduced his paintings and drawings, contributing to the international spread of his artistic language.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eComposition:\u003c\/strong\u003e After François Boucher (Paris, 1703–1770).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePrintmaker:\u003c\/strong\u003e Unidentified.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Étude Champêtre \/ Pastoral Study.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInscription:\u003c\/strong\u003e “Étude Champêtre à l’Eau-forte de BOUCHER”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Probably 19th century.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Etching \/ intaglio print with colour highlights on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 35.5 × 57 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSchool:\u003c\/strong\u003e French School.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Rococo \/ historicist interpretation.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Pastoral scene \/ gallant landscape.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eArtistic reference:\u003c\/strong\u003e François Boucher.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Consistent with age. The paper shows toning and minor signs of the passage of time. The image remains clearly legible and the colour highlights are visible.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eGroups of figures occupy the lower part of the composition. On the left, a young man carries a girl; towards the centre, animals and a seated couple introduce several directions of movement. The bridge arch opens the space on the right, while trees and the building behind lead the eye upwards. Small touches of blue, pink and green lie across the network of lines and help the figures emerge among the vegetation.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52793258541389,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0319_0397c329-208d-441a-9da6-a232b5c6052a.jpg?v=1789741620"},{"product_id":"josep-barrenechea-retrato-masculino-carboncillo-original","title":"Josep Barrenechea — Male portrait (1972) — Charcoal on paper","description":"\u003cp\u003e\u003ci\u003eA psychological study of light and shadow.\u003c\/i\u003e\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Josep Barrenechea Tubilla (Barcelona, 1908–1991).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Male portrait.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1972.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Charcoal on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 48 × 32 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Barrenechea” in the 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 Good.\u003c\/li\u003e\u003c\/ul\u003e\u003chr\u003e\u003ch2\u003eThe portrait and the line\u003c\/h2\u003e\u003cp\u003eJosep Barrenechea Tubilla was no amateur: he was a figurative painter who exhibited at Barcelona’s renowned \u003cstrong\u003eSalons de Primavera\u003c\/strong\u003e in the 1930s (1933–1937) and at the \u003cstrong\u003eSaló d’Independents\u003c\/strong\u003e in 1936. He belonged to a generation of accomplished artists who kept classical figuration alive through the turbulent decades of the 20th century.\u003c\/p\u003e\u003cp\u003eThe sitter is shown bust-length in three-quarter view, with swept-back hair, a moustache, a jacket and a tie. Charcoal shadows define the eyes, nose and cheeks, while parallel strokes describe the lapels and shoulders. The light background sets off the outline of the head and the silhouette of the suit.\u003c\/p\u003e\u003chr\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe curved lines of the hair contrast with the slanting strokes of the jacket. On the face, the shading is denser around the eyes and beneath the nose and chin; the light areas of the forehead and cheeks give volume to the head. The drawing opens out towards the edges of the shoulders, where the strokes remain separate and leave the paper visible.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52793523601741,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0376_01_20aaa58e-e6c2-4183-af70-a1ab282e0ccf.jpg?v=1792250064"},{"product_id":"magda-folch-doble-retrato-pareja-1973-tinta-sobre-papel","title":"Magda Folch — Double portrait of a couple, 1973 — Ink on paper","description":"\u003cp\u003e\u003cem\u003eTwo figures draw close in a double portrait in ink, signed “Magda Folch” and dated 1973. The artist builds up the faces, hair and gesture of intimacy through restrained line drawing against the white of the paper.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch2\u003eMagda Folch and the art of portraiture\u003c\/h2\u003e\n\u003cp\u003eMagda Folch Solé (Reus, 1903 – Tarragona, 1981) was a Catalan painter, draughtswoman and teacher. She trained at the Escola Municipal d’Arts i Oficis in Reus and developed an exhibition career associated with Reus, Barcelona and Tarragona. Portraiture held a prominent place in her work, inspiring the exhibition \u003cem\u003eMagda Folch. La mestria del retrat\u003c\/em\u003e, presented at the Museu de Reus in 2016.\u003c\/p\u003e\n\u003ch2\u003eA composition defined by line\u003c\/h2\u003e\n\u003cp\u003eThe bearded face on the left and the face on the right are placed very close together, their eyes directed towards the viewer. The irregular, deliberately economical line outlines the eyes, lips and hair without extensive areas of shading. A hand resting on a shoulder connects the two figures and concentrates the sense of closeness. The large untouched area of paper brings the marks and the dialogue between the faces to the fore.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Magda Folch Solé (1903–1981); the work bears the signature “Magda Folch”.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDescriptive title:\u003c\/strong\u003e Double portrait of a couple.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1973, inscribed as “73” beside the signature.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Ink on paper.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 49.5 × 34.5 cm (height × width).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e “Magda Folch”, in the lower left area.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Paper with some staining and signs of ageing, particularly around the margins; the main drawing remains clearly legible.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection period:\u003c\/strong\u003e 30-day return period to examine the work in person.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe Workshop Note\u003c\/h2\u003e\n\u003cp\u003eThe interest of this drawing lies in its economy of means: the faces acquire presence through very few elements, while the hand resting on the shoulder creates a bond between the figures without the need for a setting.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52803348037965,"sku":null,"price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0150_43043e9c-6f0b-47c3-ab10-3fe9f4d2fb26.jpg?v=1792677700"},{"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":"michel-henricot-la-dame-dans-le-bain-realismo-fantastico-serigrafia","title":"Michel Henricot — La dame dans le bain — Screenprint","description":"\u003cp\u003e\u003cem\u003eA timeless vision of the human body: rather than bathing, the figure seems to float in suspension.\u003c\/em\u003e\u003c\/p\u003e\u003ch2\u003eThe body as architecture\u003c\/h2\u003e\u003cp\u003eMichel Henricot (France, 1936–2022) worked within Fantastic Realism. His imagery moves away from Dalí's dreamlike Surrealism towards a more solemn and mysterious treatment of the human body, seen as a fossilised, mummified or ethereal structure. La dame dans le bain (“The Lady in the Bath”) presents a recurring motif: the encapsulated human figure.\u003c\/p\u003e\u003ch2\u003eThe chrysalis\u003c\/h2\u003e\u003cp\u003eThe overhead viewpoint places the viewer above the female figure. Turquoise and luminous emerald tones suggest an amniotic or energetic fluid rather than ordinary bathwater. Bands and veils around the anatomy recall mummy wrappings or biological armour. The oval composition and stillness evoke a womb, sarcophagus or science-fiction hibernation capsule, suspended between ancestral ritual and a futuristic vision.\u003c\/p\u003e\u003ch2\u003eTechnique\u003c\/h2\u003e\u003cp\u003eThe screenprint conveys the transparencies and subtle gradients characteristic of Henricot's painting. A glow surrounding the body contributes to the otherworldly atmosphere.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Michel Henricot (1936–2022).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e La dame dans le bain (The Lady in the Bath).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1970–1980.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Colour screenprint on heavyweight paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Paper: 65 × 50 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and edition:\u003c\/strong\u003e Signed “Henricot” in pencil at the lower right; numbered 78\/100 at the lower left.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. The central image is well preserved and retains its vibrant colours. The white margins show foxing spots.\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 figure occupies the centre of an oval form and is seen from above. Turquoise and emerald tones surround the body, while bands and veils across the anatomy introduce a rhythm of curved lines. The glow around the silhouette contrasts with the stillness of the pose.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52803974463821,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0070_cacfb206-6122-459c-91d0-4988f73abdbb.jpg?v=1790437922"},{"product_id":"rofer-roberto-fernandez-tras-el-telon-cronica-sovietica-ilustracion-original-de-prensa-tecnica-mixta","title":"Rofer (Roberto Fernández) — Tras el telón — Original illustration — Mixed media on card","description":"\u003cp\u003e\u003cem\u003eA work of graphic journalism that uses an illustrator's quick, ironic line to evoke the atmosphere of secrecy behind the Iron Curtain.\u003c\/em\u003e\u003c\/p\u003e\u003ch2\u003eThe illustrator\u003c\/h2\u003e\u003cp\u003eRoberto Fernández “Rofer” (Segovia, 1931 – Madrid, 2019) was a Spanish painter, watercolourist and illustrator. His work included editorial and press illustration. This original illustration was intended for reproduction, possibly as a section heading, a feature opening or a book illustration. The handwritten title “TRAS EL TELÓN..” and the Moscow architecture invite a reading in the context of the Iron Curtain and the Soviet Cold War.\u003c\/p\u003e\u003ch2\u003eA watchful figure\u003c\/h2\u003e\u003cp\u003eThe composition is theatrical and narrative. A man, possibly an alter ego of a journalist or the artist, wears glasses and a fur hat, or ushanka, and parts heavy blue curtains while taking notes. His gaze towards the viewer draws us into what he is observing.\u003c\/p\u003e\u003cp\u003eIn the background, the onion domes of Saint Basil's Cathedral identify Moscow. Quick ink strokes and areas of colour suggest the architecture without detailed academic rendering. Watercolour or wash appears in the broad areas of curtain and clothing, while ink or marker defines the contours with a lively graphic line.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Rofer (Roberto Fernández, 1931–2019).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Tras el telón (Behind the Curtain \/ Journalist in Moscow).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1970–1980.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Mixed media on card.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 69.5 × 49.5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Rofer” vertically in the central left area. Handwritten title at the upper right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Fair. The central image and colours are in excellent condition, remaining vivid and fresh. Foxing and dirt are visible in the right margin, outside the main illustration, as shown in the photographs.\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 illustration recalls the cinematic atmosphere of 1970s spy films. Rofer characterises the figure with just a few lines; the journalist's expression combines curiosity with caution.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52804294869325,"sku":null,"price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0080_490999dd-05d2-4c83-ad88-3826bd139acf.jpg?v=1790438102"},{"product_id":"sabrina-sampere-escena-portuaria-y-urbana-apunte-del-natural-1998-carboncillo","title":"Sabrina Sampere — Harbour and Urban Scene (from life, 1998) — Charcoal","description":"\u003cp\u003eThe activity of a harbour and its urban surroundings, captured in charcoal strokes that alternate precise lines with blended areas.\u003c\/p\u003e\u003ch2\u003eSabrina Sampere and drawing\u003c\/h2\u003e\u003cp\u003eSabrina Sampere (Sabadell, 1975) graduated in Fine Arts in Barcelona in 1998. Her visual language draws on figuration. In this drawing, dated that same year, she brings together the boat and urban movement through the contrast between dense strokes and lighter lines.\u003c\/p\u003e\u003ch2\u003eThe rhythm of the city\u003c\/h2\u003e\u003cp\u003eThe composition has two narrative planes. In the foreground, a boat's deck and its ropes, cylinders and structural elements are drawn with dense, dark charcoal strokes that anchor the eye. Behind a wall or quayside lies the urban scene: cars, pedestrians and commercial signs, including a partially legible “NAUTIC...”, sketched with a lighter, atmospheric line.\u003c\/p\u003e\u003cp\u003eSampere uses both sharp charcoal lines to define the boat's structure and blended shading, made with a stump or a finger, to suggest shadows, movement and smoke in the street. Grey and silvery tones evoke the damp light of the harbour.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Sabrina Sampere.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e View of the Harbour and Urban Traffic.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1998, dated beside the signature.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Charcoal on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 56 × 40 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Sabrina Sampere” and dated “98” at the lower left.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. The paper has slight natural toning with age, with no obvious moisture marks in the image.\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 drawing has a film-noir atmosphere, suggesting a busy, noisy harbour. The static solidity of the boat in the foreground contrasts with the movement of the cars behind.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52804341203277,"sku":null,"price":145.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0129_01_449115cb-79f1-4902-b984-244f2c2bb8a4.jpg?v=1792678124"},{"product_id":"gines-serran-pagan-composicion-habana-1987","title":"Ginés Serrán Pagán — Havana Composition (1987) — Mixed media","description":"\u003cp\u003eA work created in Havana in 1987, the year Ginés Serrán Pagán exhibited at Casa de las Américas. Signed and numbered 6\/12, it belongs to an edition of twelve.\u003c\/p\u003e\u003ch2\u003eHavana, 1987\u003c\/h2\u003e\u003cp\u003eGinés Serrán Pagán (Ceuta, 1949) has a career closely linked to travel. An artist and anthropologist, he developed much of his work between New York, Europe, Latin America and Asia, incorporating traces of places, cultures and experiences into his artistic language.\u003c\/p\u003e\u003cp\u003eThe inscription “Havana” and the date 1987 connect this work with a specific stage of his career. That year, Serrán Pagán was in Cuba and was invited to exhibit at Casa de las Américas in Havana. His presence in the city was also recorded in the Cuban press in March 1987.\u003c\/p\u003e\u003cp\u003eThe work can be read as a material record of that period: an abstraction within an identifiable biographical context.\u003c\/p\u003e\u003ch2\u003eSurface and signs\u003c\/h2\u003e\u003cp\u003eThe surface recalls a map, an eroded wall and an old page. An ochre and earth-toned ground preserves marks, transparencies and small changes of pigment beneath a strong structure of black lines.\u003c\/p\u003e\u003cp\u003eSigns, strokes and fragmentary forms emerge between writing and image. Red, yellow and blue appear as isolated accents against the warm background, creating tension within an irregular composition.\u003c\/p\u003e\u003cp\u003ePrinting, texture and later painted interventions appear to coexist on the same sheet, in keeping with the technical experimentation Serrán Pagán pursued from the early 1980s.\u003c\/p\u003e\u003cp\u003eThe work is numbered 6\/12, the sixth impression from an edition of twelve.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ginés Serrán Pagán (Ceuta, 1949).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Havana. Abstract composition.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePlace and date:\u003c\/strong\u003e Havana, 1987.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Impression 6\/12.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Original mixed-media print on paper with printing and painted interventions.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 73.5 × 49.5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Ginés Serrán Pagán” in pencil in the lower right margin.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Place and date handwritten; numbered 6\/12.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eContext:\u003c\/strong\u003e Made in the year of Serrán Pagán's stay in Cuba and his exhibition at Casa de las Américas, Havana.\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\u003eBlack lines organise the ochre and earth-toned ground, amid transparencies and denser areas of pigment. Isolated red, yellow and blue accents trace routes between the signs. The inscription “Havana”, the date 1987 and the numbering 6\/12 complete the reading of the sheet.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52804497113421,"sku":null,"price":1350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0215_01_8405e48b-710c-496d-8d20-256437fb6436.jpg?v=1790779119"},{"product_id":"escuela-espanola-s-xix-xx-la-lectora-segun-fragonard-academicismo-carboncillo","title":"Spanish School (nineteenth–twentieth centuries) — The Reader — Charcoal","description":"\u003cp\u003eAn academic drawing that renders the intimacy and silence of a reading scene in black and white.\u003c\/p\u003e\u003ch2\u003eFigure and light\u003c\/h2\u003e\u003cp\u003eThe work depicts a young woman absorbed in reading, modelled academically through a range of greys. Attention centres on the face, the pages of the book and the folds of her clothing.\u003c\/p\u003e\n\u003ch2\u003eThe lighting of the scene\u003c\/h2\u003e\u003cp\u003eLight falls on the young woman’s face and the book, leaving the background in soft half-light that heightens the scene’s intimacy. The charcoal is carefully handled, with soft sfumato in the skin and a strong sense of volume in the dress folds and cushion, contrasting with the dark chair back.\u003c\/p\u003e\n\u003ch2\u003eThe dedication\u003c\/h2\u003e\u003cp\u003eThe handwritten dedication at the lower right — “Recuerdo a mi cariñosa hermana en el día de su Santo...” — gives the work a personal character as a gift to a sister on her name day.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Spanish \/ Catalan School (unidentified signature).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e La lectora (The Reader).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate \/ Period:\u003c\/strong\u003e c. 1900–1930.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Charcoal and blending stump on paper.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 62 × 46.5 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Handwritten dedication in the lower right margin.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. The central figure retains clear definition and contrast. The paper has naturally browned with age.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed returns within 30 days to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe figure’s absorption in reading is conveyed through a quiet, soft range of greys. 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The bright, focused gaze forms the centre of attention.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Domènec Malfeito Tanella (1936).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e Portrait of a Yorkshire Terrier.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1981, dated below the signature.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Mixed media: charcoal\/grease pencil and sanguine\/pastel on paper.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 46.5 × 30 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “D. Malfeito Tanella” and dated “1981” in the lower right margin.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. The central drawing is intact. Old adhesive-tape marks remain along the upper, right and left margins, consistent with an earlier mounting of the sheet.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed returns within 30 days to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eRapid, crossing black lines suggest the Yorkshire terrier’s tousled fur. 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His expression and the nuances of his gaze stand out against a more freely painted background.\u003c\/p\u003e\n\u003cp\u003eTransparent washes, overlapping colours and areas of untouched paper define the features through a palette of ochres, pinks, blues and violet tones. The looser handling of the clothing contrasts with the close observation of the face. This difference in execution gives the composition freshness while retaining the sitter’s presence.\u003c\/p\u003e\n\u003ch2\u003eJulio Quesada Guilabert: watercolour and portraiture\u003c\/h2\u003e\n\u003cp\u003eBorn in Madrid in 1918, Julio Quesada Guilabert studied at the School of Arts and Crafts and the School of Ceramics in Madrid. He developed a long career devoted particularly to watercolour, with portraits and landscapes prominent in his work. He exhibited in numerous Spanish cities and abroad. 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The date of 1961 places the work within an active period of the artist’s career. 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In the foreground, clearly defined boxes and cases form solid geometric shapes. These objects anchor the viewpoint in a room or rooftop setting, from which pre-Olympic Barcelona is seen as if from a studio.\u003c\/p\u003e\u003ch2\u003eThe city dissolving into mist\u003c\/h2\u003e\u003cp\u003eBeyond this improvised balcony, Barcelona extends towards the horizon. Duran Vila prioritises atmosphere over precise architectural detail. Fluid wet-on-wet watercolour dissolves buildings into ochres, greys and brown earth tones.\u003c\/p\u003e\u003cp\u003eThis treatment blurs the boundaries between city, sea and mountain, suggesting diffuse light and dense air in what appears to be late afternoon or an overcast day.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Paco Duran Vila (Francesc Duran i Vila).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Panoramic View of Barcelona with a Still Life (Urban Landscape).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1985, signed and dated.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Original watercolour on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 22 × 47.5 cm. 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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. 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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. 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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. 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Wrapped in a heavy djellaba against the desert chill, the figure holds a glass of tea during the long hours of wakefulness.\u003c\/p\u003e\u003ch2\u003eLight and shadow\u003c\/h2\u003e\u003cp\u003eEtching builds the scene through contrasts of light and dark. A densely hatched background surrounds the figure, concentrating attention on the weathered face and hands.\u003c\/p\u003e\u003cp\u003eA brazier beneath a steaming teapot, an oil lamp lighting the figure from below and a staff leaning against the wall establish the setting. A single slipper in the foreground adds a sense of rest.\u003c\/p\u003e\u003cp\u003eThe engraved line responds to the folds of cloth and the texture of skin, suggesting the weight and warmth of the clothing against the cold night.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Edmond Valès (1918–2001), signed “E. 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The paper retains the plate mark and shows slight foxing in the margins, outside the image.\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 five figures distribute attention between gazes and fabrics. In the striped central headdress, the direction of the lines builds volume without large areas of shadow. 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Here, the artist presents a puppet clown suspended in a dreamlike space. The image explores the dual character of an old toy: playful in purpose, yet unsettling in its fixed gaze and mechanical movement.\u003c\/p\u003e\u003ch2\u003eTexture and symbolism\u003c\/h2\u003e\u003cp\u003eAquatint textures turn the grey background into something resembling an old wall or worn surface. Small floating elements appear within it: Gothic-looking letters, perhaps “SM”, a little golden key, a pennant and a tiny figure in the upper right that echoes the main character.\u003c\/p\u003e\u003cp\u003eThe clown is precisely drawn. Orange and violet balls held in its hands provide bright visual anchors, balancing the symmetrical arrangement of the open limbs.\u003c\/p\u003e\u003cp\u003eEtched lines define the contours, while colour aquatint gives volume to the star-patterned clothing and brown trousers, creating a sense of tactile relief.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Rainer Hercks, signed at the lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Zappel-Philipp (Articulated Clown \/ Jumping Jack).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1997, dated beside the signature.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Colour etching and aquatint on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Plate mark: 19.5 × 15 cm. Frame: 54 × 44 × 4.5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 62\/200.\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 remains clean and the colours retain their original intensity.\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 background is a particular point of interest: it seems to hold not only the toy but a blurred memory of childhood.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52826315293005,"sku":"ETC-52826315293005","price":85.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0009_b4b0ad84-c90f-4286-8d55-402bc40256e2.jpg?v=1790858104"},{"product_id":"subirana-verdaguer-bailarina-clasica-impresionismo-estilo-degas-pastel-sobre-papel","title":"Subirana Verdaguer — Classical Ballerina — Pastel on paper","description":"\u003cp\u003eA tribute to the elegance and suspended movement associated with Degas's ballerinas.\u003c\/p\u003e\u003ch2\u003eThe reference to Degas\u003c\/h2\u003e\u003cp\u003eThe ballerina and the handling of pastel recall Edgar Degas's ballet scenes. Subirana Verdaguer focuses on a solitary figure in a pose, against an undefined setting that highlights the line of the body and the lightness of the tutu.\u003c\/p\u003e\u003ch2\u003eLight and colour\u003c\/h2\u003e\u003cp\u003eThe white tutu is built from quick, soft strokes suggesting moving tulle, contrasted with a pale blue bodice. Theatrical light falls on the figure from the left, leaving the background in warm grey and ochre half-light.\u003c\/p\u003e\u003ch2\u003eThe figure and the background\u003c\/h2\u003e\u003cp\u003eElongated limbs emphasise the grace of ballet. Soft transitions between flesh tones and pink shadows shape the arms and legs and reflect an academic approach to drawing.\u003c\/p\u003e\u003cp\u003eThe atmospheric background forms a haze of colour around the dancer, separating the figure from the surface and giving it volume.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Subirana Verdaguer, signed “Subirana” at the lower left.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Classical Ballerina in a Pose.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 20th century, probably the 1970s–1980s.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Pastel on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Work: 37 × 27 cm. Frame: 53 × 44 × 4.5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Handwritten in reddish pastel at the lower left. Identification plaque on the frame.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. The pastel remains vibrant and stable, with no visible pigment losses.\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 white tutu is formed with pastel patches and soft edges that suggest the lightness of the fabric. The blue bodice introduces a cool contrast, while the legs and arms link pink transitions with flesh tones. The grey and ochre background surrounds the figure without defining a particular place.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52826523435341,"sku":null,"price":185.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0146_191dfe51-5dad-44f1-9af1-a0112a190f93.jpg?v=1790864440"},{"product_id":"gerald-moreno-diptico-litografias-akhnaton-metamorfosis","title":"Gerald Moreno — Akhnaton and La métamorphose artificielle — E.A. \/ H.C. lithographs","description":"\u003cp\u003eTwo portraits combine precisely modelled faces with forms that transform into organic and geometric structures. Gerald Moreno's lithographs share a restrained palette and broad areas of light paper.\u003c\/p\u003e\u003ch2\u003eTwo images in transformation\u003c\/h2\u003e\u003cp\u003eIn Akhnaton mon maitre, the male figure is organised around a vertical axis. One part of the face and torso retains recognisable modelling; the other opens into lines and forms suggesting fantastic architecture. The geometric pattern on the chest extends this transition between body and structure.\u003c\/p\u003e\u003cp\u003eLa métamorphose artificielle presents a woman's face surrounded by curved volumes, fragments and patterns. The eyes and lips receive the most defined modelling, while the outline extends into imaginary forms. The relationship between anatomy, geometry and transformation gives both compositions a Surrealist character.\u003c\/p\u003e\u003ch2\u003eDetail and the space of the paper\u003c\/h2\u003e\u003cp\u003eGrey tones, soft shading and fine lines create a transition from recognisable portrait to invented form. Broad, light backgrounds isolate the figures and reinforce the dialogue between the two prints, presented together in a single frame.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Gerald Moreno.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitles:\u003c\/strong\u003e Akhnaton mon maitre and La métamorphose artificielle.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Surrealism \/ Magic Realism.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Lithography on heavyweight paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e E.A. (Épreuve d'artiste) and H.C. (Hors commerce) annotations in pencil.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 50 × 36 cm (approximate printed image) | 68 × 89 cm (overall frame).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed ‘Gerald Moreno’ in pencil in the lower margin.\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\u003eBoth prints contrast a modelled area of the face with other parts drawn in open lines. A vertical axis dominates the male figure; in the female portrait, movement spreads around the head. The light space surrounding each image allows the transitions between the body and imaginary forms to be followed.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52841720938829,"sku":null,"price":590.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0310_367bb350-c80e-4317-b62a-fb53f4a662cd.jpg?v=1790872240"},{"product_id":"antoni-esplugues-isaac-albeniz-y-su-circulo-intelectual-modernismo-catalan-fotografia-de-epoca","title":"Antoni Esplugas — Isaac Albéniz and Companions — Photograph","description":"\u003cp\u003eA group portrait of the person identified as Isaac Albéniz with five companions.\u003c\/p\u003e\n\u003cp\u003eGroup photograph from Antoni Esplugas’ studio, identified by the “Esplugas” mark visible in the image. The collection’s catalogue identifies the man beside the woman as Isaac Albéniz, accompanied by five other people.\u003c\/p\u003e\n\u003cp\u003eThe group’s edges fade gradually into white, concentrating attention on the sitters. Soft, diffuse lighting models the faces without harsh shadows and reveals the textures of the clothing.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003ePhotographer:\u003c\/strong\u003e Antoni Esplugas i Puig (“Esplugas” mark in the photographic image).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCentral figure:\u003c\/strong\u003e Isaac Albéniz (1860–1909).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e Group portrait identified as Isaac Albéniz and companions.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Early twentieth century, c. 1900–1905.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Photograph on paper.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e Visible image: 45 × 23 cm; frame: 64 × 43 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed returns within 30 days to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe arrangement of the six people balances the group portrait. Soft lighting highlights faces and clothing textures; the fading edges reduce the background’s presence and keep attention on the sitters.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52848599400781,"sku":null,"price":155.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0040_01.jpg?v=1764263819"},{"product_id":"segun-benjamin-vautier-el-arresto-del-comerciante-estampa","title":"J. López (inscription), after B. Vautier — The arrest of the merchant — Print on paper","description":"\u003cp\u003e\u003cem\u003eA street of traditional architecture becomes the setting for a public arrest. This print on paper reproduces a composition by Benjamin Vautier the Elder, a prominent genre painter associated with the Düsseldorf school.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch2\u003eThe work and its context\u003c\/h2\u003e\n\u003cp\u003eThe scene relates to \u003cem\u003eDie Verhaftung des Kaufmanns\u003c\/em\u003e (The arrest of the merchant), a documented composition by Benjamin Vautier (1829–1898). The commotion in a narrow street contrasts with the distress of a woman seated beside a doorway. The subject belongs to the narrative repertoire of nineteenth-century Central European genre painting. The composition also circulated in contemporary graphic reproductions.\u003c\/p\u003e\n\u003ch2\u003eComposition and graphic language\u003c\/h2\u003e\n\u003cp\u003eThe perspective of the street is articulated through half-timbered façades, eaves, lanterns and uneven paving. On the left, neighbours gather around a figure pointing towards the distance; on the right, two women express dejection beside a doorway. Dense lines and hatching distinguish wood, stone and fabrics, while unprinted areas of paper maintain clarity within a crowded composition.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist of the composition:\u003c\/strong\u003e Benjamin Vautier the Elder (1829–1898).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePrintmaker:\u003c\/strong\u003e “J. López” inscription in the lower area; the engraver’s identity awaits documentary corroboration.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e The arrest of the merchant (\u003cem\u003eDie Verhaftung des Kaufmanns\u003c\/em\u003e).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eChronology:\u003c\/strong\u003e Nineteenth-century composition; the precise printing date of this impression is undetermined.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Print in ink on paper; the printing process awaits confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 42 × 55 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Cream-coloured paper with discreet signs of ageing; the image remains clear.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection period:\u003c\/strong\u003e 30-day return period to examine the work in person.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe Workshop Note\u003c\/h2\u003e\n\u003cp\u003eThe tension of the scene does not depend on a single protagonist: it is distributed between the accusing gesture, the expectant crowd and the figures gathered beside the doorway. The architecture acts as a narrative frame and leads the eye towards an outcome that is suggested rather than explained.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52855871439181,"sku":null,"price":195.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/imagen_2026-10-22_160055535.png?v=1792677661"},{"product_id":"jose-miguel-serrano-caballo-en-corveta-estudio-de-movimiento-escuela-de-paris-carboncillo-sobre-papel","title":"Josep Miquel Serrano — Rearing horse — Ink and wash on paper","description":"\u003cp\u003e\u003cem\u003eA horse rises onto its hind legs in a study of movement signed “Serrano”. The figure stands out through a combination of dark strokes, diluted washes and reserved areas of paper.\u003c\/em\u003e\u003c\/p\u003e\n\u003ch2\u003eA study of equine movement\u003c\/h2\u003e\n\u003cp\u003eThe raised head, arched neck and bent foreleg define an attitude of impulse and tension. The light body stands out against a background of brown and grey patches, laid down in broad brushstrokes. Dark areas accentuate the mane and legs, while sections of the animal’s outline remain open to retain the liveliness of the gesture.\u003c\/p\u003e\n\u003cp\u003eThe movement can be described as a rearing horse, but no specific haute école movement or courbette executed according to equestrian terminology is documented.\u003c\/p\u003e\n\u003ch2\u003eJosep Miquel Serrano\u003c\/h2\u003e\n\u003cp\u003eJosep Miquel Serrano i Serra (1912–1982), also known as José Miguel Serrano, was a Catalan artist who trained with Francesc Labarta and Xavier Nogués. The expressive use of line and wash places this drawing within the context of his figurative work, although its precise dating requires documentary support.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Josep Miquel Serrano i Serra (1912–1982); attribution supported by the signature “Serrano”.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDescriptive title:\u003c\/strong\u003e Rearing horse, study of movement.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Twentieth century; exact date undetermined.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eMedium and support:\u003c\/strong\u003e Brush-applied ink and wash on paper; visual identification awaiting confirmation.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 47 × 46.5 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e “Serrano”, in the lower right corner.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Warm-toned paper with some signs of ageing; the composition remains legible.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eThe Workshop Note\u003c\/h2\u003e\n\u003cp\u003eThe drawing concentrates its energy in the curve of the neck and the raised body. The wash in the background frames the movement without diminishing the lightness of the reserved areas of paper.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52856041046349,"sku":null,"price":170.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0405_01_2bf5d277-641e-458b-bf9c-bb4486b2d686.jpg?v=1792678796"},{"product_id":"maite-gonzalez-naturaleza-muerta-con-ciclamenes-realismo-intimista-linografia-ejemplar-unico-1-1","title":"Maite González — Still life with cyclamens — Linocut (unique impression, 1\/1)","description":"\u003cp\u003eA flowerpot occupies the foreground of this small still life by Maite González. Green and ochre link the plants, fruit basket and background of horizontal lines.\u003c\/p\u003e\u003ch2\u003eAn interior constructed with lines\u003c\/h2\u003e\u003cp\u003eThe decorated pot draws attention to the right, while the fruit basket occupies the left. Long leaves in the background extend the composition. Fine strokes and hatching distinguish the petals, leaves, wicker and the surface supporting the objects.\u003c\/p\u003e\u003ch2\u003eFrom green to ochre\u003c\/h2\u003e\u003cp\u003eGreen is strongest in the lower area and along some outlines; ochres appear in the fruit, pot and background. Light areas of paper keep the forms open. The print is dated 2005 and bears the numbering ‘1\/1’.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Maite González.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Still life with a pot of cyclamens and fruit.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 2005.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Linocut on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 1\/1 (unique impression).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 16 × 15 cm (printed image). Paper with broad margins.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed ‘Maite González '05’ in pencil in the 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 curves of the basket and pot contrast with the horizontal lines of the background. Above, flowers and leaves interrupt that regularity. The gradual shift from green to ochre connects the objects, while light areas of unprinted paper separate their outlines.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52856888394061,"sku":"ETC-52856888394061","price":95.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0006_2204b3f2-14f1-4ce9-b702-abffd8a4409c.jpg?v=1790437113"},{"product_id":"lourdes-mojica-antiga-casa-figueres-barcelona-expresionismo-urbano-oleo-sobre-carton-1997","title":"Lourdes Mojica — Antiga Casa Figueres (Barcelona, 1997) — Oil on cardboard","description":"\u003cp\u003eA luminous, colourful interpretation of the Modernista building on La Rambla, accompanied by documentation from the Cercle Artístic de Sant Lluc.\u003c\/p\u003e\n\u003cp\u003eIn this work from 1997, Lourdes Mojica offers a personal view of Barcelona’s Antiga Casa Figueres, now the Escribà pastry shop on La Rambla. Rather than photographic realism, she uses a language close to Expressionism.\u003c\/p\u003e\n\u003cp\u003eBold black outlines define the architecture like the leading of stained glass, enclosing saturated colour. Trencadís mosaics, curved arches and the corner sculpture are suggested through cadmium yellow, turquoise blue and violet patches.\u003c\/p\u003e\n\u003cp\u003eThe lighting suggests evening or night, with artificial light from the shop’s interior illuminating the windows. Cardboard, a support often used for outdoor painting and quick studies, gives the oil paint a matte, soft-looking texture.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Lourdes Mojica Ferrer.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Antiga Casa Figueres.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1997.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Oil on cardboard.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 35 × 50 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “L. Mojica 97” in the lower right corner.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCertificate:\u003c\/strong\u003e Includes a certificate of authenticity attached to the reverse from the Cercle Artístic de Sant Lluc (Petit Format al Cercle exhibition).\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Mint. The work has never been unwrapped from its original plastic protection.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed returns within 30 days to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eBlack outlines separate the areas of colour and emphasise the façade’s ornamental drawing. Yellows, turquoises and violets describe arches, mosaics and shop windows through saturated patches. Light from inside contrasts with the exterior tones and draws attention to the entrance.\u003c\/p\u003e\n\u003cp data-taller-author=\"lourdes-mojica\"\u003e\u003ca href=\"\/en\/pages\/lourdes-mojica-ferrer\"\u003eExplore artworks by Lourdes Mojica Ferrer\u003c\/a\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52858201571661,"sku":null,"price":320.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0127_01_0dae5c7a-42fc-4821-8874-55aaaf088b62.jpg?v=1792282316"},{"product_id":"lourdes-mojica-fachada-urbana-apunte-del-natural-expresionismo-oleo-sobre-carton","title":"Lourdes Mojica — Urban Facade (sketch from life) — Oil on cardboard","description":"\u003cp\u003e\u003ci\u003eA vibrant, gestural rendering of urban architecture, in which colour builds the volumes and atmosphere of the street.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eIn this work, Lourdes Mojica approaches the urban landscape from an expressionist perspective. Rather than drawing the architecture precisely, she uses oil paint to capture the impression of a façade. This sketch from life was made quickly to convey the psychological impression of a façade at a particular moment.\u003c\/p\u003e\n\u003cp\u003eThe vertical composition focuses on an architectural fragment. Mojica builds the structure through blocks of saturated colour: yellows and ochres suggest artificial lighting, while deep blues and purples mark recessed entrances and cast shadows.\u003c\/p\u003e\n\u003cp\u003eThe artist applies oil paint generously, probably with a palette knife or broad brush, creating a richly textured surface. The painting gives precedence to patches of colour over line, seeking to convey the vitality of the city rather than describe its bricks literally.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Lourdes Mojica Ferrer.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTitle \/ Subject:\u003c\/strong\u003e Urban Façade \/ Architectural sketch.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Oil on cardboard.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 42 × 27 cm.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “L. Mojica” in the lower right corner.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. The paint retains its freshness and adheres well to the support.\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed returns within 30 days to inspect the work in person.\u003c\/li\u003e\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe façade is built from a few well-placed planes of colour. Mojica conveys the building’s presence without drawing every detail; the simplified forms give structure to the architecture.\u003c\/p\u003e\n\u003cp data-taller-author=\"lourdes-mojica\"\u003e\u003ca href=\"\/en\/pages\/lourdes-mojica-ferrer\"\u003eExplore artworks by Lourdes Mojica Ferrer\u003c\/a\u003e\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52858312098125,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0115_01_f4830129-bde2-4721-b2a9-a602cb1d45ad.jpg?v=1792282239"},{"product_id":"francois-antoine-aveline-vista-optica-de-paris-desde-el-pont-royal-grabado-original-s-xviii-coloreado-de-epoca","title":"Pierre Aveline — Paris from the Pont Royal — Hand-coloured print on paper","description":"\u003cp\u003e\u003cem\u003eA panorama of the Seine and the Pont Royal in which bridges, buildings and boats are linked by a deep perspective.\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 view corresponds to the composition “Veuë et Perspective de la Ville de Paris du côté du Pont Roial”, catalogued by the Beaux-Arts de Paris as a 17th-century work by Pierre Aveline. The Pont Royal occupies the foreground; beyond it, the two banks and successive bridges lead the eye into Paris. Monumental architecture contrasts with the small boats that enliven the river.\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 Veuë et Perspective de la Ville de Paris du côté du Pont Roial.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate of the composition:\u003c\/strong\u003e 17th century.\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 “Aveline fecit et excudit C.P.R.”\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\u003eDepth is the element that holds this composition together. Buildings on both banks frame the river, and the successive bridges mark out the distance. The colouring brings clarity to a scene particularly rich in architecture and river life.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52867321495885,"sku":"ETC-52867321495885","price":120.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0114_0171ed5c-070d-4932-82a1-0c344fbd9f0f.jpg?v=1792246660"},{"product_id":"francois-antoine-aveline-cartagena-vista-fantastica-colonial-grabado-original-s-xviii-curiosidad-cartografica","title":"Pierre Aveline — Cartagena de Indias — Hand-coloured print on paper","description":"\u003cp\u003e\u003cem\u003eA harbour panorama of Cartagena with ships, fortifications and a city unfolding in the background.\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 inscription places Cartagene in “l’Amérique Australe” and describes it as “Ville d’Espagne”, wording that reflects its colonial context. The scene brings together a fortified tower in the foreground, sailing ships and an extensive urban waterfront. The sea and the movement of the vessels structure the composition, while colour distinguishes stone, water and the different planes of the harbour.\u003c\/p\u003e\u003cp\u003eThe caption mentions “Fleuve Cavé”. The historical text is retained as part of the print.\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 Cartagene, Ville d’Espagne.\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 C.P.R.”\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 foreground tower and the breadth of the bay give this print a theatrical presence. Sails, flags and the rhythm of the water invite the eye to explore the image; its appeal lies in this historical vision of a harbour city and the richness of its details.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52867341386061,"sku":"ETC-52867341386061","price":130.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0120_8aa3d552-dd2c-41ae-9e4e-167a5811f838.jpg?v=1792246718"},{"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":"miguel-ros-blasco-paul-cezanne-y-vasijas-negras-neoexpresionismo-tecnica-mixta-sobre-papel","title":"Miguel Ros Blasco — ‘Paul Cézanne’ and black vessels — Mixed media on paper","description":"\u003cp\u003eTwo black forms with curved profiles stand out against red patches. The green inscription ‘Paul Cézanne’ crosses the upper part of this work by Miguel Ros Blasco, dated 1990.\u003c\/p\u003e\u003ch2\u003eThe name and the image\u003c\/h2\u003e\u003cp\u003eThe written reference to Cézanne is integrated into the pictorial space alongside forms that give the composition the character of a still life. Black contours combine solid areas and open strokes, while small green touches recur inside the figures.\u003c\/p\u003e\u003ch2\u003eRed, black and green\u003c\/h2\u003e\u003cp\u003eRed patches remain visible between and around the outlines. Black carries the greatest visual weight, while green stands out both in the upper lettering and in fine lines running along the margins. Unpainted areas of paper separate these elements.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Miguel Ros Blasco.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Still life with the inscription ‘Paul Cézanne’.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1990.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Mixed media on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 60 × 50 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Handwritten signature ‘M. Ros 90’ in the lower left corner. Upper inscription ‘Paul Cézanne’.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Vivid colours and paper without distortion.\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 large curved outline on the right directs the eye towards the upper inscription. On the left, a more vertical profile introduces another rhythm. Repeated green connects the letters with small details in the black forms, while red remains visible as a shared field.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52953244041549,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0141_a62b960e-70b8-48dc-acbb-c91c9f0284ce.jpg?v=1793468223"},{"product_id":"miguel-ros-blasco-brau-toro-en-rojo-y-negro-neoexpresionismo-tecnica-mixta-sobre-papel","title":"Miguel Ros Blasco — Brau (1990) — Mixed media on paper","description":"\u003cp\u003eA bull formed from black strokes crosses a field of red patches. Miguel Ros Blasco combines broad gestures, fine lines and a small green circle in this work from 1990.\u003c\/p\u003e\u003ch2\u003eThe figure in motion\u003c\/h2\u003e\u003cp\u003eCurved horns rise from the head, while the back, legs and tail extend in brushstrokes of varying thickness. The silhouette is recognisable without detailed anatomical modelling. Changes in the direction of the strokes convey movement.\u003c\/p\u003e\u003ch2\u003eContrasts on paper\u003c\/h2\u003e\u003cp\u003eRed patches spread behind the figure and remain visible between the dark areas. A green circle above and lines of the same colour introduce an additional contrast. Light areas of paper separate the gestures and keep the outlines legible.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Miguel Ros Blasco.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Brau (Bull).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1990.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Mixed media on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 60 × 50 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Handwritten signature ‘M. Ros 90’ in the lower right corner. Titled ‘BRAU’ in the lower left corner.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. Saturated colours and clean paper.\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\u003eBlack strokes concentrate the weight of the bull's figure and describe long curved horns. The legs and tail extend into open lines, while red patches remain visible between the dark brushstrokes. The small green circle above and fine lines of the same colour contrast with the red. Unpainted areas of paper separate the gestures and make the silhouette legible.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52953282871629,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0155_01_e52ddb17-2f9f-4237-8fed-43b5fcf0a94f.jpg?v=1792678217"},{"product_id":"yves-brayer-caballos-en-la-camarga-figuracion-francesa-litografia-a-color","title":"Yves Brayer — Horses in the Camargue — Colour lithograph","description":"\u003cp\u003eHorses and foals gather beside the water amid blues, ochres and oranges. Yves Brayer constructs the scene with black outlines, broad light areas and horizontal bands of landscape.\u003c\/p\u003e\u003ch2\u003eHorses in an open landscape\u003c\/h2\u003e\u003cp\u003eYves Brayer (1907–1990) was a French figurative painter associated with the landscapes of Provence and the Camargue. In this lithograph, a light-coloured horse and a foal occupy the foreground. Other horses gather beside the water and lead the eye towards the low horizon.\u003c\/p\u003e\u003ch2\u003eWater and vegetation in contrast\u003c\/h2\u003e\u003cp\u003eThe blues of the water and sky contrast with the warm tones of the land and the shrub on the right. Dark strokes define the animals' bodies and the branches, while the lighter horses stand out among the planes of colour. Birds and a small building extend the space beyond the main group.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yves Brayer.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Horses and foals in the Camargue.\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 Colour lithograph on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 56.5 × 67.5 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e ‘Yves Brayer’ signature in the lower right corner, printed as part of the image.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Slightly toned paper and a crisp image.\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 horses form a sequence from the pair in the foreground to the animals in the distance. The orange shrub on the right balances the light mass of the horse. Blue bands of water connect the two sides and keep the landscape open between the figures.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52953351487821,"sku":null,"price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0368_bf241def-f2ac-4b20-a525-fdf3fa36443c.jpg?v=1792678439"},{"product_id":"josep-canyada-tecnica-mixta-original-horizonte-materico-tierras-1988","title":"Josep Canyada — Textured horizon in earth tones (1988) — Mixed media","description":"\u003cp\u003eEarth tones, light strokes and a blue band organise this composition by Josep Canyada, dated 1988. Marks across the surface suggest a landscape without depicting a particular place.\u003c\/p\u003e\u003ch2\u003eA horizon of patches and strokes\u003c\/h2\u003e\u003cp\u003eBrowns, ochres and greys spread in bands and sweeps running in different directions. A yellowish area crosses the centre, while blue gathers near the upper edge. This arrangement suggests a separation between land and sky within an abstract composition.\u003c\/p\u003e\u003ch2\u003eThe surface as part of the landscape\u003c\/h2\u003e\u003cp\u003eLight lines, dragged marks and differences in density reveal the texture. Some marks cross broad areas of colour; others form small interruptions. The relationship between the background tone and the superimposed marks gives continuity to the whole.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Josep Canyada.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Abstract landscape. Textured horizon in earth tones.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 1988.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Mixed media with dragged pigment on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 37 × 52.5 cm (artwork) | 53.5 × 68.5 × 3 cm (framed).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Handwritten signature ‘Canyada 88’ in the lower right 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 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 upper blue band contrasts with the expanse of earth tones. In the centre, yellow introduces a pause among the darker marks. White strokes cross these areas, offering a path across the surface alongside the horizontal reading of the landscape.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52953374589261,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0016_30464fc6-9d13-47d5-b159-448ff799b7c8.jpg?v=1790817963"},{"product_id":"isabel-dartiguelongue-acrilico-original-abstraccion-expresionista-rojo-oliva","title":"Isabel Dartiguelongue — Colour tension in red and olive — Acrylic on cardboard","description":"\u003cp\u003eRed bands, green sweeps and dark areas structure this abstract composition by Isabel Dartiguelongue. The curved stroke on the right contrasts with the more vertical planes in the centre and at the edges.\u003c\/p\u003e\u003ch2\u003ePlanes of colour and movement\u003c\/h2\u003e\u003cp\u003eOlive greens and earth tones form a field of subtle variations, crossed by areas of red and dark brown. Some parts retain the direction of the brush bristles; others are more fully covered. Contrasts distinguish layers and paths without relying on recognisable figures.\u003c\/p\u003e\u003ch2\u003eRed and light spaces\u003c\/h2\u003e\u003cp\u003eReds appear in the lateral bands and in small trails and splashes in the centre. Light areas interrupt the green sweeps and open up the composition. The broad curved gesture on the right introduces a different movement from that of the vertical bands.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Isabel Dartiguelongue (Argentina).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Abstract composition in red and olive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Second half of the 20th century (c. 1980–1990).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Acrylic on cardboard.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 52 × 79 cm (artwork) | 67 × 94 × 3 cm (framed).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Signed ‘Dartiguelongue’ in the lower right 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 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\u003eVertical planes concentrate the weight of red and dark brown. Beside them, green sweeps leave brush lines and light areas of the support visible. Small splashes in the centre connect two ways of applying colour: the broad surface and the more localised gesture.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":52959472025933,"sku":null,"price":480.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0285_0b2452ec-b823-45ce-a554-82e07945f173.jpg?v=1790871881"},{"product_id":"atribuido-opisso-mir-nonell-catalogo","title":"Attributed to Ricard Opisso — Joaquim Mir e Isidre Nonell. Evocació — catalogue entry","description":"\u003ch2\u003e\u003cspan\u003eWORK UNDER STUDY AND AUTHENTICATION\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eThis work is currently undergoing study and authentication.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFor this reason, the piece is not currently for sale and cannot be purchased directly through the website.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEnquiries about this catalogue entry are handled solely for documentary purposes. While the study remains open, purchases, reservations and offers for this work are not accepted.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cspan\u003eTwo male figures stand in an evocative composition, built through energetic drawing and broad areas of watercolour in ochre, earth and orange tones.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe work itself provides an essential key to interpreting the scene. Beside the figures, a handwritten inscription identifies \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJoaquim Mir e Isidre Nonell\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, accompanied by the word \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e«Evocació»\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The composition therefore seems conceived not as a conventional portrait necessarily made in the presence of the sitters, but as an evocation of two central figures in early twentieth-century Catalan painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece also bears a signature reading \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e«Opisso»\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, which, together with its graphic and stylistic characteristics, forms the basis of the current investigation into authorship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe proposed attribution refers to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRicard Opisso i Sala (Tarragona, 1880 – Barcelona, 1966)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a draughtsman closely associated with the artistic milieu of Modernista Barcelona, particularly known for his remarkable ability to record people, gatherings, streets and scenes from the society of his time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOpisso knew first-hand the cultural milieu in which Joaquim Mir and Isidre Nonell developed their careers. This provides a historically coherent context for a composition conceived as an “evocation”.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eAn evocation of Mir and Nonell\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe handwritten identification of the figures is particularly significant.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJoaquim Mir\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eIsidre Nonell\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e belonged to a generation that played a decisive role in transforming Catalan painting around 1900, although they developed deeply personal and distinctly different visual languages.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this piece, they are not depicted with the solemnity of a formal portrait. The figures are built through rapid drawing with a strong graphic character, dominated by silhouette, bodily stance and a few features capable of distinguishing the individuals.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe word \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e«Evocació»\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e also introduces a dimension of remembrance. It seems intended to do more than simply identify the figures: it turns the image into a recollection or reconstruction of people belonging to a particular artistic milieu.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnique and composition\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe work combines broad watercolour washes with a considerably more forceful dark line.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe background is rendered in warm, diluted tones that create a loosely defined atmosphere, while the figures emerge through denser, more direct lines. This contrast between a diffuse colour environment and the dark drawing of the figures gives the composition considerable visual strength.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe support, sizeable for an intimate work on paper, allows the figures to have a greater presence than that offered by small studies or editorial illustrations.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece measures \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e40.5 × 29.5 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eTechnical details\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAttribution currently under study:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Ricard Opisso i Sala (1880–1966)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTitle \/ inscription:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eJoaquim Mir e Isidre Nonell. Evocació\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eProposed date:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e first half of the twentieth century\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eTechnique:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e mixed media, with watercolour and dark strokes in a greasy drawing medium on thick paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDimensions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e 40.5 × 29.5 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e bears the signature «Opisso» on the right-hand side\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eInscriptions:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e «Joaquim Mir i l'Isidre Nonell \/ Evocació»\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eProvenance:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e private collection\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e very good overall visible condition, with patina and signs of ageing consistent with the support\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCurrent status:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e undergoing study and authentication; not available for sale\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eAbout the attribution\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe attribution to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRicard Opisso\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is currently being investigated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe study considers together the signature on the work, the handwritten inscriptions, the technique employed, the characteristics of the drawing, the historical context of the figures depicted and comparison with documented works by the artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUntil this process has been completed, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eEl Taller del Coleccionista does not present this piece as an authentic or certified work by Ricard Opisso\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eReferences to the artist in this entry describe solely the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eattribution currently under study\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and the historical and artistic context behind it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAny future change to the attribution will be incorporated into this entry as the investigation progresses.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Taller’s note\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eSome works have an investigation that forms part of their own history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis piece arrived at the Taller with several features that warranted a closer look: an «Opisso» signature, two figures linked to one of the most important periods of Catalan art and, above all, a particularly evocative annotation: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e«Joaquim Mir i l'Isidre Nonell \/ Evocació»\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePrecisely because of the significance that authorship by Ricard Opisso would have, we have chosen not to offer the work on the market while its study continues.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece will remain \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoff sale until we have sufficient evidence to establish its cataloguing with greater certainty\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis entry will be updated as the attribution study progresses.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53456164946253,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0041_13b252de-cc32-4f38-ad99-800c1733564a.jpg?v=1791473861"},{"product_id":"humberto-jaimes-sanchez-rostro-cubista-1954","title":"Humberto Jaimes Sánchez — Cubist Face, Rome 1954 — Oil on paper","description":"\u003cp\u003eA face constructed from angular planes and a palette of reds, pinks, earth colours and ochres. Humberto Jaimes Sánchez concentrates the composition on the elongated eyes, central nose and horizontal mouth, defined by dark outlines and pale strokes.\u003c\/p\u003e\u003ch2\u003eRome, 1954\u003c\/h2\u003e\u003cp\u003eThe work bears the inscription “H. Jaimes Sanchez 54 Roma”. The chronology published by the Fundación Humberto Jaimes Sánchez places his journey to Europe in December 1954 and his stay in Rome until March 1955. This context belongs to an early stage in the Venezuelan painter’s career.\u003c\/p\u003e\u003ch2\u003eConstructing the face\u003c\/h2\u003e\u003cp\u003eThe triangular shapes of the cheeks and eyebrows organise the face into planes of colour. A vertical black line accompanied by a white stroke articulates the nose; the eyes and mouth establish horizontal rhythms. The texture of the paper and variations in the density of the paint remain visible on the surface.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Humberto Jaimes Sánchez (1930–2003).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Cubist anthropomorphic composition (Rome study).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1954.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Oil on paper mounted on cardboard (marouflage).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 11 × 20 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature and inscriptions:\u003c\/strong\u003e Signed, dated and inscribed with the location at lower right: “H. Jaimes Sanchez 54 Roma”.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection archive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. The paint layer remains stable, with no flaking, retaining its original texture and matt appearance.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eReturns:\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 elongated eyes and horizontal mouth contrast with the vertical line of the nose. Black outlines separate red, pink and ochre planes; white strokes highlight some of their edges. The asymmetry between the two halves of the face and the visible texture of the surface bring movement to a frontal composition.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53456245031245,"sku":null,"price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0372_15f77c5a-ba14-4731-9670-5d213fb17dfe.jpg?v=1791040634"},{"product_id":"ricard-opisso-escena-costumbrista-encuentro-tinta-acuarela","title":"Attributed to Ricard Opisso — Genre Scene \"The Encounter\" — Ink and Watercolor","description":"\u003cp\u003eA clash of two worlds captured with satirical brilliance and masterful strokes. A historical graphic document where the sharp dissection of society of its time is presented in a cabinet format with exceptional mounting.\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eThe scrutiny of modernity\u003c\/b\u003e Ricard Opisso (1880-1966) was a fundamental figure for understanding the graphic evolution of Catalonia. Trained in Gaudí's workshop and seasoned in the tertulias of Els Quatre Gats, he knew how to distill the essence of an era of profound social transformations. This piece, attributed to his hand due to solid stylistic, technical, and thematic similarities, functions as a first-rate sociological document. It presents that sharp gaze, capable of synthesizing with ink and water the psychology of an entire country, characteristic of the best historical illustration publications.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eThe collision of two Catalonias\u003c\/b\u003e The scene poses a perfect narrative contrast, resolved with the unmistakable black, continuous, and dynamic line associated with the author's orbit. On one side, the figure of the urban bourgeois: with rounded volumes, neat clothes, and a static attitude, delicately holding his jacket. In front of him, the peasant: lean, wiry, wearing the traditional red barretina and mended trousers.\u003c\/p\u003e\n\u003cp\u003eThe visual dialogue is fascinating, built on deeply humanist humor rather than drama. The drop of sweat on the peasant's forehead contrasts with the haughtiness on the face of the city man. The subtle watercolor washes do not compete with the drawing but embrace it, giving the scene depth and atmosphere.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eExceptional mounting\u003c\/b\u003e What elevates this piece to a highly particular collector's item is its support. It is not conceived on loose paper but is organically mounted on a dark leather base. This material decision gives it an almost artisanal, tactile, and definitive character. The paper presents a natural and imperfect undulation, a result of time and manual mounting, providing a \"patina of life\" that speaks directly of meticulous workshop work.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eArtist:\u003c\/b\u003e Attributed to Ricard Opisso i Sala (1880 - 1966).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eTitle \/ Theme:\u003c\/b\u003e Genre Scene (The Encounter).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003ePeriod:\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\u003e\u003cb\u003eTechnique and Support:\u003c\/b\u003e Black ink and period watercolor on paper, mounted on leather support.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eDimensions:\u003c\/b\u003e 13.5 x 13.5 cm (artwork dimensions).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eSignature and Inscriptions:\u003c\/b\u003e Features the inscription \"Opisso\" in the lower right corner.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eProvenance:\u003c\/b\u003e Private collection (with auction sale history).\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\u003cli\u003e\n\n\u003cp\u003e\u003cb\u003eCondition:\u003c\/b\u003e Good. Presents a very attractive period patina and an organic undulation of the paper due to manual mounting on leather. Vivid and stable colors.\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe contrast between the two figures is conveyed through their stances, expressions and clothing. The rounded forms of the city man face the leaner figure of the peasant in his red barretina and patched trousers. Black outlines organise the scene, while light watercolour washes give it depth. The paper is mounted on a dark leather support.\u003c\/p\u003e\n\u003cp data-taller-blog-reference=\"20261019\"\u003eThe scene is discussed in our historical overview of \u003ca href=\"\/en\/blogs\/cronicas\/ricard-opisso-cronista-modernismo\"\u003eRicard Opisso, Catalan illustration and his genre drawings\u003c\/a\u003e.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53456896393549,"sku":null,"price":550.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0359_70527948-0ac7-40dd-94bb-997e770d3f0a.jpg?v=1791038261"},{"product_id":"anita-sola-dimbert-composicion-estructural-en-rojo-y-negro-abstraccion-geometrica-tecnica-mixta","title":"Anita Solà d’Imbert — Structural composition in red and black — Mixed media on paper","description":"\u003cp\u003eAn abstract composition by Anita Solà d’Imbert in which red triangular planes intersect with black lines and grey shading on pale paper.\u003c\/p\u003e\u003ch2\u003eLines and planes of colour\u003c\/h2\u003e\u003cp\u003eLong diagonals and pointed shapes extend the structure sideways. The black strokes vary in thickness and alternate straight lines with curves, while red fills some of the spaces defined by the drawing.\u003c\/p\u003e\u003ch2\u003ePaper as space\u003c\/h2\u003e\u003cp\u003eUncoloured areas separate the forms and keep the composition open. Grey shading introduces variations in density beside the red planes, allowing geometric precision to coexist with the visible texture of the drawing.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Anita Solà d’Imbert.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Structural composition in red and black.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Contemporary art.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Mixed media (charcoal, ink and wax\/red pigment) on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 23.5 × 16 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Hand-signed “Anita Solà d'Imbert” at lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection archive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. The support remains clean and the pigments retain their contrast, saturation and brightness, without signs of deterioration or loss of fixation.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eReturns:\u003c\/strong\u003e 30-day return period to inspect the work and its condition in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eRed triangular planes contrast with black lines and areas of grey shading. Strokes vary in thickness and alternate straight lines, curves and crossings, so that the geometric structure coexists with freer drawing. The pale background and small uncoloured gaps between the forms allow the line to be followed without closing the composition into a solid field.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53457106895181,"sku":null,"price":190.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0086_63056040-dd59-4075-83d2-5767b90371f8.jpg?v=1791634100"},{"product_id":"anita-sola-dimbert-forma-abstracta-en-verde-y-negro-informalismo-materico-acrilico-sobre-papel","title":"Anita Solà d’Imbert — Abstract form in green and black, c. 1965 — Mixed media on paper","description":"\u003cp\u003eAnita Solà d’Imbert, the name under which Anna Solà Galí (Barcelona, 1906–1995) pursued her artistic career, holds a distinctive place in post-war Catalan art. Following an initial period associated with figurative painting, landscape and still life, during the 1960s she moved towards an Informalist language characterised by organic forms, experimentation with materials and increasingly free gestures.\u003c\/p\u003e\u003cp\u003eThis composition belongs stylistically to that Informalist approach. An irregular structure of green, black, white and grey pigments occupies the broad pale surface of the paper. The dark, compact core contains the densest accumulations of paint, while numerous extensions project outwards, conveying a strong sense of growth and movement.\u003c\/p\u003e\u003cp\u003eThe artist combines areas of fluid paint with impasto, dragged marks and overlapping layers that form small reliefs. Whites and greys partially mix with black and green, creating veins and internal transitions. The unpainted paper plays an active role, isolating the central form and accentuating its outward expansion.\u003c\/p\u003e\u003cp\u003eBy its technical and stylistic affinities, the work can be placed around the mid-1960s, when Solà d’Imbert presented some of her most clearly Informalist work. Its interest lies both in the gestural force of the composition and in its connection to a less familiar aspect of an artist now receiving renewed attention from art historians and Catalan museums.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Anita Solà d’Imbert — Anna Solà Galí (Barcelona, 1906–1995).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Abstract form in green and black. Descriptive title.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa 1965. Stylistic dating.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Acrylic-based mixed media on heavyweight paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 23.5 × 16 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Signed “Anita Solà d’Imbert” at lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. The support remains stable and the paint layer retains its relief and adhesion, with slight signs of age in the paper.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe piece is particularly representative of Anita Solà d’Imbert’s Informalist period. In contrast to the geometric compositions she would develop later, patches of colour, relief and the organic spread of pigment predominate here. The small format concentrates considerable visual energy and allows close observation of the mixtures, veins and accumulations that build the surface.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53457112400205,"sku":null,"price":180.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0073_6dd87319-4f40-4fb1-bd76-c8cc8888dd80.jpg?v=1791634263"},{"product_id":"xavier-ubach-paisaje-atmosferico-con-arbol-sintesis-tonal-acuarela-original-sobre-papel","title":"Xavier Ubach — Atmospheric landscape with a tree — Watercolour on paper","description":"\u003cp\u003eA watercolour by Xavier Ubach with a dark tree on the left, a low fence and horizontal bands of landscape in brown, ochre and black.\u003c\/p\u003e\u003ch2\u003eThe tree and depth\u003c\/h2\u003e\u003cp\u003eThe tree canopy concentrates the densest marks. Behind it, the fence and bands of ground lead the eye to the right. Soft washes define the distant hills, separated by pale areas of paper.\u003c\/p\u003e\u003ch2\u003eWashes and dry strokes\u003c\/h2\u003e\u003cp\u003eThe fragmented texture of the foreground and foliage contrasts with the more diluted transitions in the sky. Small white reserves interrupt the bands of colour and bring light to the landscape.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Xavier Ubach.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Atmospheric landscape (Strata of memory).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e Contemporary art.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Original watercolour, using dry-brush work and washes, on paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 16 × 23 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Hand-signed “XAVIER UBACH” at lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection archive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. The paper has no stains and the pigments retain their contrast, from deep blacks to the subtle ochre washes in the sky.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eReturns:\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 dark tree on the left concentrates the densest marks in the composition. Grass and earth in the foreground show fragmented strokes that contrast with the softer horizontal bands of the hills. The pale brown and ochre sky leaves the landscape open. Small white areas of paper interrupt the surface and emphasise the contrast between dry passages and washes.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53457161814349,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0019_04.jpg?v=1772464282"},{"product_id":"henry-dresser-marsh-titmouse-carbonero-palustre-ilustracion-cientifica-del-s-xix-litografia-original","title":"Henry Dresser — Marsh Titmouse — 19th-century lithograph","description":"\u003cp\u003eAn ornithological plate from A History of the Birds of Europe by Henry Eeles Dresser (1838–1915). Three birds sit among branches and leaves, with grey and brown plumage and dark caps.\u003c\/p\u003e\u003ch2\u003eOrnithological illustration\u003c\/h2\u003e\u003cp\u003eDresser’s publication appeared in London between 1871 and 1881, with a supplement in 1895–1896, and included illustrators such as J. G. Keulemans. The birds are shown in different positions to reveal their profiles, wings and tails. The lower captions identify two as “Marsh Titmouse” (Parus palustris) and the third as “Northern Marsh Titmouse” (Parus borealis), following the nomenclature printed on the plate.\u003c\/p\u003e\u003ch2\u003eDrawing and presentation\u003c\/h2\u003e\u003cp\u003eFine lines describe the plumage, feet and leaf veins. The pale background separates the birds’ outlines and leaves space for the scientific captions. A blue mount and a frame with gilt details surround the composition.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eAuthor of the publication:\u003c\/strong\u003e Henry Eeles Dresser (1838–1915).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSource publication:\u003c\/strong\u003e A History of the Birds of Europe, London.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePlate title:\u003c\/strong\u003e 1. 2. Marsh Titmouse (Parus palustris). 3. Northern Marsh Titmouse (Parus borealis).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e 19th century; publication issued 1871–1881, with a supplement in 1895–1896.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Original lithograph on period paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 24 × 31 cm (visible image). Frame included.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Printed scientific captions in the lower margin. Lithographer’s monogram in the plate, towards the lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection archive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Stable paper with slight, even age toning.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePresentation:\u003c\/strong\u003e Professionally framed in wood with a blue and gold finish and a textured blue mount.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eReturns:\u003c\/strong\u003e 30-day return period to inspect the print in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe three birds are arranged among branches and leaves, their dark heads and pale breasts providing points of contrast. Their different orientations reveal profiles and plumage within a single composition. The pale background leaves space around each bird, while the blue mount separates the plate from the frame with gilt details.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53461230584141,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0219_a8a23576-f4e0-4a8d-8a84-8896a1425535.jpg?v=1791853203"},{"product_id":"henry-dresser-azure-titmouse-herrerizo-cianeo-ilustracion-cientifica-del-s-xix-litografia-original","title":"Henry Dresser — Azure Titmouse — 19th-century lithograph","description":"\u003cp\u003eAn ornithological plate from A History of the Birds of Europe by Henry Eeles Dresser (1838–1915), with two azure tits perched on branches. Blue wings and tails contrast with the white and grey of the remaining plumage.\u003c\/p\u003e\u003ch2\u003eIllustration and inscriptions\u003c\/h2\u003e\u003cp\u003eDresser’s publication appeared in London between 1871 and 1881, with a supplement in 1895–1896, and included illustrators such as J. G. Keulemans. The plate retains the caption “Azure Titmouse \/ Parus cyaneus” and the number 86, together with a monogram beside the branch.\u003c\/p\u003e\u003ch2\u003eColour and composition\u003c\/h2\u003e\u003cp\u003eBoth birds face right at different heights. Fine lines describe the feathers and details of the branches, while blue areas stand out against the pale background. Green foliage surrounds the lower bird in particular. The presentation includes a blue mount and a gilt frame.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eAuthor and illustrator:\u003c\/strong\u003e Henry Eeles Dresser (1838–1915), author of the publication. Lithographic illustrator: J. G. Keulemans, attributed through the monogram in the plate.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSource publication:\u003c\/strong\u003e A History of the Birds of Europe, London.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePlate title:\u003c\/strong\u003e Azure Titmouse (Parus cyaneus). Plate 86.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e 19th century; publication issued 1871–1881, with a supplement in 1895–1896.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique and support:\u003c\/strong\u003e Original lithograph on high-quality period paper.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 24 × 31 cm (visible image). Frame included.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInscriptions:\u003c\/strong\u003e Printed caption in the lower margin: “AZURE TITMOUSE. \/ PARUS CYANEUS. \/ 86”. Artist’s monogram within the drawing beside the branch.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection archive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Stable paper with slight, even age toning. Firm pigments.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePresentation:\u003c\/strong\u003e Professional framing with a classic gilt wooden frame and textured blue mount.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eReturns:\u003c\/strong\u003e 30-day return period to inspect the print in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe two birds perch on branches and face right. Their blue wings and long tails contrast with their pale heads and breasts. Green foliage accompanies the lower bird, while the open background makes the outlines and feather patterns clear. The blue mount echoes the birds’ colours and separates the illustration from the gilt frame.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53461241004365,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0201_0c833ca7-a0b1-4dd7-bbeb-aff8bdf686f6.jpg?v=1791852919"},{"product_id":"hernan-ardila-composicion-abstracta-2003-grabado-contemporaneo-aguafuerte-y-punta-seca","title":"Hernán Ardila — Abstract composition (2003) — Etching and drypoint","description":"\u003cp\u003eA grid organises black organic forms against a light field. In this print by Hernán Ardila, dated 2003, a single reddish accent interrupts the continuity of the composition.\u003c\/p\u003e\u003ch2\u003eThe grid and the forms\u003c\/h2\u003e\u003cp\u003eLines divide the composition into rectangular compartments of unequal sizes. Each space contains one or more irregularly outlined forms: some are solid, while others have a central opening. Repetition establishes an order that changes from cell to cell.\u003c\/p\u003e\u003ch2\u003eInk and paper\u003c\/h2\u003e\u003cp\u003eThe combination of etching and drypoint brings together dark surfaces, textures and lines. The reddish accent in the upper right area stands out among the black forms. Broad margins separate the printed field from the light wooden frame, leaving the surrounding paper visible.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Hernán Ardila.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle \/ subject:\u003c\/strong\u003e Abstract composition. Organic grid.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eYear:\u003c\/strong\u003e 2003.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Etching and drypoint.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSupport:\u003c\/strong\u003e Handmade 250 g Molí Cubé paper with natural deckle edges.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 55 × 45 cm (sheet) | 25 × 25 cm (plate mark). Frame included.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eEdition and inscriptions:\u003c\/strong\u003e Numbered ‘1\/84’ in the lower left corner. Signed and dated in pencil in the lower right corner.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e Private collection archive.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Clean paper, free of foxing, with good ink density.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePresentation:\u003c\/strong\u003e Framed in contemporary light wood.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eInspection guarantee:\u003c\/strong\u003e Guaranteed 30-day return period to inspect the print in person.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eStraight lines divide the printed field into rectangular compartments of unequal sizes. Inside them, dark organic forms alternate solid surfaces and open contours, with a reddish accent in the upper right. Their irregular outlines contrast with the grid, while the spaces between forms create a measured rhythm. The broad paper margins separate the composition from the simple wooden frame.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53462417604941,"sku":"ETC-53462417604941","price":135.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0105_5f474fac-23eb-4f93-80e2-a9f90d862264.jpg?v=1791850613"},{"product_id":"carme-navarra-pruna-la-dulzura-de-la-mirada-retrato-de-joven-con-flores-retrato-contemporaneo-tecnica-mixta","title":"Carme Navarra Pruna — The sweetness of the gaze — Female portrait, mixed media on paper","description":"\u003cp\u003eA young woman with reddish hair looks towards the viewer. Delicate features, pink tones in the curls and a small floral ornament on her dress create an intimate image.\u003c\/p\u003e\u003cp\u003eThis portrait by Carme Navarra Pruna (Sant Just Desvern, 1933–2023) brings together characteristic aspects of the Catalan painter and illustrator’s work: attention to the human figure, economical drawing and colour that gives priority to expression over academic detail.\u003c\/p\u003e\u003cp\u003eThe face is slightly tilted, with eyes, nose and mouth defined by simple brown marks. Pink and earthy tones give volume to the hair, while bluish lines and small green touches outline the shoulders and neckline.\u003c\/p\u003e\u003cp\u003eAt the bottom, a floral motif introduces an ornamental detail that reinforces the delicacy of the image.\u003c\/p\u003e\u003ch2\u003eA life devoted to drawing and painting\u003c\/h2\u003e\u003cp\u003eCarme Navarra Pruna was born in 1933 at Can Pruna, a Modernist house in Sant Just Desvern, a town with which she maintained a close connection throughout her life.\u003c\/p\u003e\u003cp\u003eHer interest in art began early. At eleven she received a national prize for illustrating stories, and during her teenage years she began working in publishing.\u003c\/p\u003e\u003cp\u003eFor several decades she worked with the publisher Luis Talleda, producing illustrations, Christmas cards and religious images. This experience helped her develop fluency in drawing and a sensitivity to small-format compositions.\u003c\/p\u003e\u003cp\u003eIn the early 1970s she began a new phase devoted to oil painting. Her first solo exhibition took place in 1975 at Galeria 4 Cantons in Olot. She subsequently exhibited in Barcelona, Madrid and other cities, developing a personal figurative language.\u003c\/p\u003e\u003cp\u003ePortraiture, particularly of women, played a prominent role in her work. Women, girls and figures from everyday life appear in intimate scenes.\u003c\/p\u003e\u003cp\u003eIn February 2022, Sant Just Desvern Town Council honoured her long career with the retrospective Mirades, held at the Celler de Can Ginestar.\u003c\/p\u003e\u003ch2\u003eExpression through simplicity\u003c\/h2\u003e\u003cp\u003eIn The sweetness of the gaze, the artist leaves out secondary narrative elements to concentrate attention on the face.\u003c\/p\u003e\u003cp\u003eThe drawing develops over a granular surface, with small pigment marks that reveal the structure of the composition. Colour emerges gradually from the paper without rigid outlines or carefully modelled transitions.\u003c\/p\u003e\u003cp\u003eThe young woman’s calm, slightly melancholic gaze forms the emotional centre of the portrait and establishes a direct connection with the viewer.\u003c\/p\u003e\u003cp\u003eThe composition reflects Navarra Pruna’s intimate approach, linked to her long experience in drawing and her interest in the human figure.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Carme Navarra Pruna (Sant Just Desvern, 1933–2023).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e The sweetness of the gaze. Descriptive title.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Mixed media on paper, with marks and pigment applications resembling wax or pastel.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 32 × 23 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 52 × 43 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 “C. Navarra Pruna”, at lower right.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Female portrait, young figure and figurative illustration.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition. Minor signs of ageing in the paper and mounting; the colours and portrait remain legible.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Wooden frame with a mount featuring a double decorative border included.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe slightly tilted face concentrates the brown lines of the eyes, nose and mouth. The curls combine pink and earthy tones that contrast with the bluish marks of the shoulders. At the bottom, the scalloped neckline leads towards a flower outlined in brown and green. The granular texture leaves the pale background visible between the small applications of colour.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53462726476109,"sku":null,"price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0065_d80ddad9-9e4b-4cfe-a7f8-44174f0198c4.jpg?v=1791849922"},{"product_id":"carme-navarra-pruna-la-dama-del-sombrero-retrato-contemporaneo-tecnica-mixta","title":"Carme Navarra Pruna — The lady in the hat — Female portrait, mixed media on paper","description":"\u003cp\u003eA young woman appears in profile beneath a broad hat decorated with small flowers. A few lines define her calm, thoughtful face, while the delicate use of colour gives the composition an atmosphere of elegance and nostalgia.\u003c\/p\u003e\u003cp\u003eThis work by Carme Navarra Pruna (Sant Just Desvern, 1933–2023) expresses her particular sensitivity to female portraiture, one of the recurring subjects of her career.\u003c\/p\u003e\u003cp\u003eThe figure faces right, her hair gathered beneath a wide-brimmed hat. Brown tones define the profile, while small pink and green details ornament the headwear.\u003c\/p\u003e\u003cp\u003eBluish applications and delicate pink accents describe the dress, completing a composition marked by light drawing and balanced colour.\u003c\/p\u003e\u003ch2\u003eCarme Navarra Pruna: from illustration to portraiture\u003c\/h2\u003e\u003cp\u003eBorn in Sant Just Desvern in 1933, Carme Navarra Pruna showed a strong interest in drawing from an early age.\u003c\/p\u003e\u003cp\u003eAt eleven she received her first recognition for children’s illustrations. As a teenager she began a professional collaboration with the publisher Luis Talleda, producing Christmas cards, religious images and illustrations.\u003c\/p\u003e\u003cp\u003eThese early works helped shape her artistic language. Precise drawing, an interest in delicate figures and the ability to build narrative images with simple means remained present in much of her later work.\u003c\/p\u003e\u003cp\u003eDuring the 1970s she extended her practice to oil painting and began exhibiting in Spanish galleries.\u003c\/p\u003e\u003cp\u003eHer early solo exhibitions included Galeria 4 Cantons in Olot in 1975, Sala Ramon Casas in Barcelona in 1977 and Sala Nonell in Madrid in 1978.\u003c\/p\u003e\u003cp\u003eHer work paid particular attention to the human figure, female characters and intimate settings. Women, girls, interiors and gardens appear in a language combining figurative tradition with the sensibility of illustration.\u003c\/p\u003e\u003cp\u003eHer long career received institutional recognition in 2022 with the retrospective Mirades, organised by Sant Just Desvern Town Council.\u003c\/p\u003e\u003ch2\u003eA portrait beyond a single period\u003c\/h2\u003e\u003cp\u003eThe lady in the hat evokes the tradition of elegant female portraiture, particularly the images of women in ornamental hats that became prominent during the 19th and 20th centuries.\u003c\/p\u003e\u003cp\u003eThe broad floral headwear recalls historical fashion and period illustration, although the artist uses a freer, more simplified graphic language.\u003c\/p\u003e\u003cp\u003eThe expression concentrates in the line defining the nose, lips and chin. The gaze, directed beyond the composition, creates a sense of inwardness.\u003c\/p\u003e\u003cp\u003eThe granular texture of the colour allows the pale background to participate in the image. Brown and blue tones balance small pink and green details, particularly in the flowers on the hat.\u003c\/p\u003e\u003cp\u003eThe economy of means and the ornamental delicacy form distinctive aspects of the work.\u003c\/p\u003e\u003ch2\u003eTechnical details\u003c\/h2\u003e\u003cul\u003e\u003cli\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Carme Navarra Pruna (Sant Just Desvern, 1933–2023).\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e The lady in the hat. Descriptive title.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Mixed media on paper, with pigment applications resembling wax or pastel.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eArtwork dimensions:\u003c\/strong\u003e 32 × 23 cm.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFramed dimensions:\u003c\/strong\u003e 52 × 43 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 “C. Navarra Pruna”, at lower left.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eSubject:\u003c\/strong\u003e Female profile portrait, floral hat and figurative illustration.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition, with minor signs of ageing in the support and mounting. The lines and colours remain clearly legible.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eFraming:\u003c\/strong\u003e Wooden frame with a mount featuring a double decorative border included.\u003c\/li\u003e\u003c\/ul\u003e\u003ch2\u003eThe Taller Note\u003c\/h2\u003e\u003cp\u003eThe profile faces right beneath the curve of the hat brim. Brown contours define the face and hair; small pink and green touches indicate the flowers on the headwear. Bluish marks gather in the dress, beside a pink detail near the neck. The pale background and granular texture separate the different areas of colour.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53462828253517,"sku":null,"price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/DSC_0050_b47187b2-743d-4f59-b919-715b14036eba.jpg?v=1791849428"},{"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":"julio-linares-el-primer-dia-1973-arte-visionario-y-psicodelia-tecnica-mixta","title":"Julio Liñares — The First Day (1973), mixed media on paper","description":"\u003cp\u003eA world of organic forms, flowing colour and tiny human figures unfolds in \u003cem\u003eEl primer día\u003c\/em\u003e (The First Day), a composition by Julio Liñares dated 1973.\u003c\/p\u003e\n\u003cp\u003eThe work presents an imaginary landscape in which the microscopic and the monumental seem to coexist. Among cellular structures, winding paths and clusters of biomorphic forms, small human silhouettes are integrated into a complex visual architecture.\u003c\/p\u003e\n\u003cp\u003eIts title, \u003cem\u003eEl primer día\u003c\/em\u003e, recorded in an inscription on the reverse, invites us to interpret the scene as an evocation of the origin of life, the birth of a world or a process of creation still unfolding.\u003c\/p\u003e\n\u003ch3\u003eA world between abstraction and imagination\u003c\/h3\u003e\n\u003cp\u003eThe composition is organised through an intricate network of lines, dots, curves and organic forms. Colours seem to travel through imaginary channels, while interconnected compartments create a highly complex structure.\u003c\/p\u003e\n\u003cp\u003eThe palette combines oranges, yellows, greens, pinks and blues, with gentle transitions that leave the texture of the paper visible.\u003c\/p\u003e\n\u003cp\u003eOne of its most striking features is the presence of small human figures within the abstract structures. They introduce a narrative dimension: the viewer discovers an inhabited world in which the human scale is diminished by the vast forms surrounding it.\u003c\/p\u003e\n\u003cp\u003eClose observation reveals further relationships between the elements. Some structures recall cellular organisms; others suggest water currents, imaginary vegetation or fantastical architecture.\u003c\/p\u003e\n\u003ch3\u003eThe artistic context of 1973\u003c\/h3\u003e\n\u003cp\u003eDated 1973, the work belongs to a period of considerable formal experimentation in twentieth-century art.\u003c\/p\u003e\n\u003cp\u003eDuring the 1960s and 1970s, many artists explored approaches to representation beyond traditional figuration. Organic abstraction, psychedelic aesthetics and certain strands of fantastic art opened the way to compositions marked by imaginative freedom, intense colour and the creation of self-contained visual worlds.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEl primer día\u003c\/em\u003e has formal affinities with these tendencies. Its language, however, is not purely spontaneous abstraction: the detailed structures, repeated small motifs and organised paths of colour reveal a carefully developed execution.\u003c\/p\u003e\n\u003cp\u003eThe work thus brings abstraction into dialogue with figuration, and the recognisable with the imaginary.\u003c\/p\u003e\n\u003ch3\u003eSignature and inscriptions\u003c\/h3\u003e\n\u003cp\u003eThe composition bears a signature dated 1973 in the lower right corner, together with an inscription on the reverse recording the title \u003cem\u003eEl primer día\u003c\/em\u003e, the same date and a fuller signature.\u003c\/p\u003e\n\u003ch2\u003eTechnical details\u003c\/h2\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Julio Liñares.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eEl primer día\u003c\/em\u003e (The First Day), as inscribed on the reverse.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1973, according to the inscriptions.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e Mixed media, with inks and coloured pigments on paper.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 63 × 50 cm.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e Biomorphic abstraction with figurative elements and affinities with visionary art and psychedelic aesthetics.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e “Liñares 73” in the lower right corner.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eInscriptions on the reverse:\u003c\/strong\u003e The title \u003cem\u003eEl primer día\u003c\/em\u003e, the date 1973 and a handwritten signature.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good overall condition, with a warm tone to the paper, light signs of age and well-preserved colour.\u003c\/p\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cp\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e Presented in a dark wooden frame.\u003c\/p\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch2\u003eA note from El Taller\u003c\/h2\u003e\n\u003cp\u003eThis composition stands out for the density of its details and the originality of its imagery.\u003c\/p\u003e\n\u003cp\u003eWe are particularly drawn to the relationship between the large organic structures and the small human figures distributed across the surface. This interplay of scales turns the work into an imaginary landscape that rewards sustained attention.\u003c\/p\u003e\n\u003cp\u003eThe varied palette and meticulous lines contribute to its distinctive character, while the title \u003cem\u003eEl primer día\u003c\/em\u003e adds a narrative dimension open to different interpretations.\u003c\/p\u003e","brand":"El taller del coleccionista","offers":[{"title":"Default Title","offer_id":53467896643917,"sku":null,"price":350.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0904\/1841\/3901\/files\/Arteabstractoorganicoenmarcado.png?v=1791848083"}],"url":"https:\/\/eltallerdelcoleccionista.com\/en\/collections\/historias-sobre-papel.oembed?page=20","provider":"El taller del coleccionista","version":"1.0","type":"link"}