Josep Clarà i Ayats Paintings & Artwork for Sale | Josep Clarà i Ayats Art Value Price Guide

Oct. 30, 2024
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "La voluntad". Patinated bronze bust. Veined marble base. Signed on the right side. With stamp M. BALLARIN Y CIA, Barcelona.
Est: €7,500 - €8,000
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "La voluntad". Patinated bronze bust. Veined marble base. Signed on the right side. With stamp M. BALLARIN Y CIA, Barcelona. Work published in the copy "José Clará", Tipografía Artística Cervantes, Madrid, page 18. It presents marks of use and wear. The base has some chipping. A sculpture of the same characteristics is conserved in the office of Joan Maragall (1860-1911), a room that the Maragall family called "the confessional" due to the number of visitors that attended the poet, and in the School of Fine Arts of San Fernando, Madrid. Measurements: 36 x 25 x 27 cm (sculpture); 6 x 28 x 29 cm (base). The first sculpture of "La Voluntad" may have been made by Josep Clará around 1911. We can base this statement on the fact that this original sculpture (the same as the one we are now bidding for) was given by the sculptor from Olot himself to the poet Joan Maragall as a token of gratitude for his "Toast to Clarà", made in 1911 at the Maison Dorée. The toast was read at a gathering organized as a tribute to Clarà because he had not been awarded the medal VI Exposició Internacional d'Art de Barcelona, an award that personalities such as Maragall felt he deserved. Another version of "The Will" that is known is currently preserved in the Academy of San Fernando, being the pledge of entry into the academy by the artist. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented at the Salon des Artistes Français the work "Torment", a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of a greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monumento a los caídos" (1952) in Barcelona. With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. His work is also present in the Museo Comarcal de la Garrotxa in Olot and in the MNAC.
Setdart Auction House
Oct. 30, 2024
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "The rhythm", 1910. Patinated bronze sculpture.
Est: €4,500 - €4,800
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "The rhythm", 1910. Patinated bronze sculpture. Signed on the right side of the base. A copy of the same model is in the collection of the Museum of Modern Art MNAC, Barcelona. Exhibitions: ""The body and matter in sculpture", European Museum of Modern Art (MEAM), Barcelona. 2019-2020. Marble foot (with chipping). Measurements: 56 x 22 x 30 cm (sculpture); 4 x 26 x 32 cm (base). "The rhythm" is a significant sculpture within the production of Josep Clarà. Two women embraced and wrapped in cloths that melt them, adopt languid dance steps. Their bodies sway to the rhythm of the fabrics, which cover and uncover their torsos, veiling their nudity while revealing it at the same time. Clará's muses show themselves without modesty, but retain an invisible halo of mystery. Their gestures are sensual and yet lack the slightest mannerism. The curves are restrained, far from excessive voluptuousness, while referring us to classical typologies, of Greek origin. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented at the Salon des Artistes Français the work "Torment", a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of a greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monumento a los caídos" (1952) in Barcelona. With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. His work is also present in the Museo Comarcal de la Garrotxa in Olot and in the MNAC.
Setdart Auction House
Oct. 10, 2024
JOSEP CLARÀ (1878-1958). NEGATIVE FOR EMBOSSING, PROBABLY FROM "LA LECTURA", CIRCA 1948.
Est: €300 - €650
In plaster. 40 x 22.2 x 2.5 cm.
Subarna Subastas
Jun. 11, 2024
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "The Slave", 1926. Patinated bronze sculpture, copy 2/8. Signed and numbered. Edition limited to 8.
Est: €14,000 - €18,000
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "The Slave", 1926. Patinated bronze sculpture, copy 2/8. Signed and numbered. Edition limited to 8. A copy of the same model is in the Carmen Thyssen-Bornemisza collection. Exhibitions: "A la recerca de la llibertat: Barcelona-Paris 1900-1960". Dau Al Set Gallery, Barcelona. Measurements: 82 cm. height. With this work, Josep Clarà took the postulates of Noucentisme to his personal terrain, achieving a timeless and modern image at the same time. The young woman shows herself without modesty, but preserves an invisible veil of mystery. Her gesture is sensual and yet lacks the slightest mannerism. Her curves are restrained, far from excessive voluptuousness, and at the same time they refer us to classical typologies, of Greek origin. Noucentisme, an ideological-aesthetic movement that arose in Catalonia at the beginning of the 20th century as a reaction to "fin de siècle" modernism, opposed the Eighteenth-century mentality with a desire for rigor and a classicism that looked to the past for its models to imitate. Thus, its essential values will be order, clarity and moderation. Contrary to the naturalism, psychologism and sentimentalism of the 19th century, he sought the lucid creation of a Mediterranean spirit, as opposed to fin-de-siècle decadentism. Clará brought to its peak the materialization of the longed-for Mediterranean typology. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented at the Salon des Artistes Français the work "Torment", a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of a greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monumento a los caídos" (1952) in Barcelona. With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. His work is also present in the Museo Comarcal de la Garrotxa in Olot and in the MNAC.
Setdart Auction House
Jun. 07, 2024
Josep Clarà (1878-1958) La Volonté Circa 1925
Est: €10,000 - €15,000
Josep Clarà (1878-1958) La Volonté Circa 1925 Marbre blanc Signé " JOSE CLARA " H. 53 cm Soutenu par le peintre Josep Berga, Josep Clara s’installe à Paris en 1897 où il reçoit une formation académique dans les ateliers d’Ernest Barrias et de Jules Coutan. Ia découverte de l’œuvre d’Auguste Rodin au Pavillon de l’Alma lors de l’Exposition universelle de 1900 est décisive pour le jeune sculpteur. Son travail dans l’atelier du maître de Meudon et l’influence de son ami Aristide Maillol l’amènent à développer des créations plus personnelles dans l’esprit méditerranéen. Dès 1910, le succès déjà établi de Josep Clara lui permet d’exposer à l’étranger et la vie Exposition internationale des beaux-arts de Barcelone en 1911 le révèle comme chef de file de la sculpture catalane du début du xxe siècle. Œuvre en rapport : José Clarà, La Volonté, 1911, plâtre laqué, signé " CLARÁ ", dim. : 37,5 x 22 x 30 cm, Barcelone, Musée national d’art de Catalogne, inv. MNAC/MC 90431. Littérature en rapport : • Carme Arnau, Eva Franqueron, Clarà : catàleg del fons d’escultura, Barcelone, Musée national d’art de Catalogne, 1997, modèle répertorié sous le n° 87, p. 165. • Mercè Doñate, Clarà escultor, Barcelone, Musée nationale d’art de Catalogne, 1997.
Crait-Muller
Apr. 11, 2024
JOSEP CLARÀ (1878-1958). NEGATIVE FOR EMBOSSING, PROBABLY FROM "LA LECTURA", CIRCA 1948.
Est: €400 - €750
In plaster. 40 x 22.2 x 2.5 cm.
Subarna Subastas
Mar. 19, 2024
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "Maternity". Bronze. Exemplary V/VIII. Presents signature, stamp and justification.
Est: €300 - €500
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "Maternity". Bronze. Exemplary V/VIII. Presents signature, stamp and justification. Measurements: 32 x 18 x 17 cm. Josep Clarà begins his formation in the School of Drawing of Olot, with Josep Berga i Boix, and later he will study sculpture in the School of Fine Arts of Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented at the Salon des Artistes Français the work "Torment", a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of a greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monumento a los caídos" (1952) in Barcelona. With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. His work is also present in the Museo Comarcal de la Garrotxa in Olot and in the MNAC.
Setdart Auction House
Feb. 19, 2024
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "Female nude". Mixed media on paper. Signed in the upper left corner.
Est: €800 - €1,000
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "Female nude". Mixed media on paper. Signed in the upper left corner. Measurements: 67 x 50 cm; 100 x 82 cm (frame). Josep Clarà begins his formation in the School of Drawing of Olot, with Josep Berga i Boix, and later he will study sculpture in the School of Fine Arts of Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented at the Salon des Artistes Français the work "Torment", a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of a greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. It is also present in the Regional Museum of the Garrotxa in Olot and in the National Museum of Art of Catalonia, among others.
Setdart Auction House
Dec. 15, 2022
JOSEP CLARÁ (1878-1958). MAN'S BUST.
Est: €1,200 - €1,500
Bronze. Signed. 52 x 34 x 30 cm.
Subarna Subastas
Aug. 31, 2022
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "Le coucher". Bronze sculpture with marble base. Signed. Presents foundry stamp. The base has severe breakage on the left side. The sculpture is not anchored to the base.
Est: €5,000 - €5,500
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "Le coucher". Bronze sculpture with marble base. Signed. With foundry stamp. The base is severely broken on the left side. The sculpture is not anchored to the base. Size: 65 x 20 x 13 cm; 70 x 24 x 18 x 18 cm (base). This work by Josep Clarà falls within the context of Noucentisme, an ideological-aesthetic movement that arose in Catalonia at the beginning of the 20th century as a reaction against modernism, romanticism and, in general and by extension, against all art and the "fin-de-siècle" spirit. Noucentisme was generically opposed to the mentality and spirit of the eighteenth-century with a desire for rigour and a classicism that looked to the classicist past for its ideal models to imitate. Thus, its essential values were order, clarity and moderation. Contrary to the naturalism, psychologism and sentimentalism of the 19th century, he sought the lucid creation of a Mediterranean spirit, in contrast to fin-de-siècle decadentism. Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. He is also present in the Museu Comarcal de la Garrotxa in Olot and in the Museu Nacional d'Art de Catalunya, among others.
Setdart Auction House
Jun. 09, 2022
JOSEP CLARÀ (OLOT, 1878 - BARCELONA, 1958)
Est: €400 - €700
Josep Clarà (Olot, 1878 - Barcelona, 1958) "Estudio de escultura" (Sculpture studio) Ink drawing on paper. Signed. 17 x 11,5 cm.
La Suite Subastas
May. 24, 2022
JOSEP CLARÁ - Rhythm
Est: €3,500 - €7,000
JOSEP CLARÁ Olot 1878-Barcelona 1958 Rhythm Patinated bronze on black marble base Signed Size 60 x 36 x 38 cm
Subastas Segre
Mar. 15, 2022
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1914. Cast. Godard Pere Fondeur brand, Paris. Signed.
Est: €2,000 - €2,500
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure (Portrait of the dancer Isabel Rodríguez), 1914. Plaster. Mark of Godard Pere Fondeur, Paris. Signed. Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt. Size: 35 x 24 x 26 cm. Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. His work can also be found in the Museu Comarcal de la Garrotxa in Olot and the Museu Nacional d'Art de Catalunya, among others.
Setdart Auction House
Feb. 08, 2022
JOSEP CLARA - Woman
Est: €350 - €700
JOSEP CLARÁ Olot 1878-Barcelona 1958 Woman Sanguine on paper Signed size 43 x 30 cm
Subastas Segre
Jan. 27, 2022
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1914. Cast. Godard Pere Fondeur brand, Paris. Signed.
Est: €2,000 - €2,500
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure (Portrait of the dancer Isabel Rodríguez), 1914. Plaster. Mark of Godard Pere Fondeur, Paris. Signed. Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt. Size: 35 x 24 x 26 cm. Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. His work can also be found in the Museu Comarcal de la Garrotxa in Olot and the Museu Nacional d'Art de Catalunya, among others.
Setdart Auction House
Dec. 16, 2021
JOSEP CLARÀ (1878-1958). "MATERNITY".
Est: €180 - €400
Pencil on paper. Signed. 17 x 13.5 cm; 26.8 x 23.3 cm. (frame).
Subarna Subastas
Dec. 16, 2021
JOSEP CLARÀ (1878-1958). "NAKED MAN", 1935.
Est: €1,400 - €3,000
Bronze sculpture with base. Signed. Reference literature: Cristina Rodríguez-Samaniego, "Al taller de Josep Clarà: els guixos d'un escultor irrepetible", Barcelona, MEAM-Fundació de les Arts i els Artistes, 2016, p. 301, cat. no. 39. 68 x 20 x 14 cm sculpture with base
Subarna Subastas
Dec. 14, 2021
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1914. Plaster.
Est: €2,800 - €3,000
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1914. Plaster. Mark of Godard Pere Fondeur, Paris. Signed. Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt. Measurements: 35 x 24 x 26 cm. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented the work "Torment" at the Salon des Artistes Français, a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. It is also present in the Regional Museum of Garrotxa in Olot and the National Art Museum of Catalonia, among others.
Setdart Auction House
Nov. 10, 2021
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1914. Plaster.
Est: €2,800 - €3,000
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1914. Plaster. Mark of Godard Pere Fondeur, Paris. Signed. Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt. Measurements: 35 x 24 x 26 cm. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented the work "Torment" at the Salon des Artistes Français, a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. It is also present in the Regional Museum of Garrotxa in Olot and the National Art Museum of Catalonia, among others.
Setdart Auction House
Jun. 17, 2021
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1918. Cast. Godard Pere Fondeur brand, Paris. Signed.
Est: €2,800 - €3,000
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958). "El somriure" (Portrait of the dancer Isabel Rodríguez), 1918. Cast. Godard Pere Fondeur brand, Paris. Signed. Measurements: 35 x 24 x 26 cm. Josep Clarà began his training at the School of Drawing in Olot, with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After finishing his studies, he went to Paris in 1890, where he worked in the workshop of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, the advice of the latter helped him to overcome the modernist influences of his early works. In 1907 he presented the work "Torment" at the Salon des Artistes Français, a work that denotes a Rodinian influence that in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favor of greater clarity and serenity. The following year he presented what would be the first of his goddesses, a work that finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan allowed him to create his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and brought him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the ruins of life" (San Isidro cemetery, Madrid) and "Monument to the Catalan volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the grand prize in Paris in 1925. At the end of that same year he was appointed member of the Academy of Fine Arts of San Fernando in Madrid. Clarà also made heads and portraits, where he showed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself from all sentiment, as can be seen in his first "Static", from 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honor at the International Exhibition of Barcelona (1929). In 1930 Clarà traveled to Greece; two years later he left his residence in Paris and settled permanently in Barcelona. In 1934 he was awarded the Damià Campeny prize for "Desnudo de muchacha". In 1936 he created one of his best works, for the synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the grand prize at the 1954 Hispano-American Biennial. In 1946 he made a "San Benito" (Montserrat) that oriented him towards the study of the seated figure. Thus, his last works will be mainly seated maternities and lying figures. In 1969 was inaugurated in Barcelona the museum that bears his name, where a large part of his work is preserved. It is also present in the Regional Museum of Garrotxa in Olot and the National Art Museum of Catalonia, among others.
Setdart Auction House
Dec. 17, 2020
JOSEP CLARÀ (1878-1958). "GIRL".
Est: €300 - €390
Charcoal on paper. Signed and with a number, probably inventory or cataloguing. 49 x 32 cm; 67 x 47 cm (frame).
Subarna Subastas
Dec. 19, 2019
JOSEP CLARÀ (1878-1958). "YOUTH".
Est: €200 - €260
Ink on paper. Signed. 17.5 x 14 cm; 30.5 x 27.5 cm. (frame).
Subarna Subastas
Dec. 18, 2019
JOSEP CLARÁ (Olot, 1878 - Barcelona, 1958) Rhythm. A bronze figural group on marble base.
Est: -
JOSEP CLARÁ (Olot, 1878 - Barcelona, 1958 Ritmo En bronce de 57 x 22 x 28 cm. Firmada. Con peana en mármol de 6 x 25 x 30 cm. En el Museo Nacional de Arte de Cataluña se encuentra otro ejemplar similar, adquirido en la Sexta Exposición Internacional de Arte celebrada en Barcelona en 1911. English Translation JOSEP CLARÁ (Olot, 1878 - Barcelona, 1958) Rhythm. A bronze figural group on marble base.
Sala Retiro Subastas
Dec. 17, 2019
JOSEP CLARÁ - Naked
Est: -
JOSEP CLARÁ Olot 1878-Barcelona 1958 Naked Ink on paper Signed Size: 23.5 x 15.5 cm
Subastas Segre
Mar. 07, 2019
Josep Clarà
Est: -
Josep Clarà (Olot, 1878-Barcelona, 1958). "Desnudo femenino", escultura en bronce sobre peana en mármol negro, 34 cm. alt. Firmada.
Sala de Ventas
Oct. 24, 2018
Josep Clarà, "Cap d'Adela", Bronze sculpture
Est: €3,250 - €4,000
Josep Clarà Olot 1878 - Barcelona 1958 "Cap d'Adela" Bronze sculpture Signed. Made in 1934 or 1935. The MNAC houses three versions of this work, one of them also in bronze (inv. no. MNAC/MC 99806 – MCGO 7246). Reference literature: M. Doñate et al., “Clarà. Catàleg del fons d’escultura”, Barcelona, MNAC, 1997, p. 200, cat. no. 295 to 297 31x12x12 cm
Balclis
Apr. 11, 2018
JOSEP CLARA I AYATS (SPANISH, 1878-1958) A bronze figure group of two classical maide
Est: £700 - £1,000
JOSEP CLARA I AYATS (SPANISH, 1878-1958) A bronze figure group of two classical maidens Their hair in the classical manner and dressed in diaphanous robes, on a marble plinth base, signed to the base, 32cm wide x 24cm deep x 57cm high (12 1/2in wide x 9in deep x 22in high)
Bonhams
Feb. 22, 2018
JOSEP CLARÀ I AYATS (OLOT, 1878-BARCELONA, 1958)
Est: €400 - €520
"Ícaro". En escayola. Firmada. 47 x 52 x 15 cms.
Subarna Subastas
Sep. 27, 2017
JOSEP CLARÀ (1878-1958)
Est: €90 - €120
JOSEP CLARÀ (1878-1958) litografía firmada en plancha, "Figura femenina", 30x23 cm.
Arce Subastas
Jul. 13, 2017
JOSEP CLARÀ (1878-1958)
Est: €750 - €980
Molde en yeso del "Repòs". 27,5 cms alt.
Subarna Subastas
Mar. 23, 2017
JOSEP CLARÀ (1878-1958)
Est: €800 - €1,040
Molde en yeso del "Repòs". 27,5 cms alt.
Subarna Subastas
Mar. 15, 2017
Josep Clarà Olot 1878 - Barcelona 1958 Academias femeninas Dibujo a lápiz sobre papel
Est: €500 -
Josep Clarà Olot 1878 - Barcelona 1958 Academias femeninas Dibujo a lápiz sobre papel Firmado 46,8x68,5 cm
Balclis
Mar. 14, 2017
Josep Clarà i Ayats (1878–1958): A bronze model of a female torso
Est: £400 - £600
Josep Clarà i Ayats (1878–1958): A bronze model of a female torso
Bonhams
Feb. 08, 2017
Josep Clarà Olot 1878 - Barcelona 1958 Female academy
Est: €175 -
Josep Clarà Olot 1878 - Barcelona 1958 Female academy Sanguine on paper Firmada y fechada en 1934 26x36,5 cm Josep Clarà Olot 1878 - Barcelona 1958 Academia femenina Sanguina sobre papel Firmada y fechada en 1934 26x36,5 cm
Balclis
Feb. 08, 2017
Josep Clarà Olot 1878 - Barcelona 1958 "Niño ''Baco''"
Est: €600 -
Josep Clarà Olot 1878 - Barcelona 1958 "Niño ''Baco''" Sculpture in bronze Firmada y con firma del fundidor Bechini. Base en mármol. Existen otras versiones en yeso y mármol, realizadas en 1940 y 1958 y conservadas en el MNAC, Barcelona (nº inv. 90586, 90579 y 90128) - Museu Comarcal de la Garrotxa, Olot (nº inv. 7109, 7098 y 7002). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d''escultura", Barcelona, MNAC, 1997, p. 214 y 288, nº cat. 379, 380 y 826 51 cm alt total Josep Clarà Olot 1878 - Barcelona 1958 "Niño ''Baco''" Escultura en bronce Firmada por el escultor y el fundidor Bechini. Base en mármol. Existen otras versiones en yeso y mármol, realizadas en 1940 y 1958 y conservadas en el MNAC, Barcelona (nº inv. 90586, 90579 y 90128) - Museu Comarcal de la Garrotxa, Olot (nº inv. 7109, 7098 y 7002). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d''escultura", Barcelona, MNAC, 1997, p. 214 y 288, nº cat. 379, 380 y 826 51 cm alt
Balclis
Feb. 08, 2017
After Josep Clarà Olot 1878 - Barcelona 1958 "Nu femení"
Est: €200 -
After Josep Clarà Olot 1878 - Barcelona 1958 "Nu femení" Sculpture in bronze Con firma, localizada y fechada en París en 1906. Modelo original de 1905. Base en mármol. Se conservan versiones en yeso y bronce en el MNAC, Barcelona - Museu Comarcal de la Garrotxa, Olot (nº inv. MCGO 19 y MCGO 125). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d''escultura", Barcelona, MNAC, 1997, p. 157-158, nº cat. 42 y 43. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 41,5 cm escultura Según Josep Clarà Olot 1878 - Barcelona 1958 "Nu femení" Escultura en bronce Con firma, localizada y fechada en París en 1906. Modelo original de 1905. Base en mármol. Se conservan versiones en yeso y bronce en el MNAC, Barcelona - Museu Comarcal de la Garrotxa, Olot (nº inv. MCGO 19 y MCGO 125). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d''escultura", Barcelona, MNAC, 1997, p. 157-158, nº cat. 42 y 43. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 41,5 cm (sin peana)
Balclis
Oct. 26, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "Plenitud"
Est: €6,000 -
Josep Clarà Olot 1878 - Barcelona 1958 "Plenitud" Sculpture in bronze with pedestal in marble Firmada y con firma del fundidor Bechini. Modelo original hacia 1936. Existen otras versiones en yeso, mármol y bronce, conservadas en el MNAC, Barcelona (nº inv. 90038, 90174, 90310 y 90577) - Museu Comarcal de la Garrotxa, Olot (nº inv. 5959, 7003, 7006 y 7010). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 205-206, nº cat. 326-330 88,5 cm alt escultura y 105,5 cm alt peana Josep Clarà Olot 1878 - Barcelona 1958 "Plenitud" Escultura en bronce con peana en mármol Firmada y con firma del fundidor Bechini. Modelo original hacia 1936. Existen otras versiones en yeso, mármol y bronce, conservadas en el MNAC, Barcelona (nº inv. 90038, 90174, 90310 y 90577) - Museu Comarcal de la Garrotxa, Olot (nº inv. 5959, 7003, 7006 y 7010). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 205-206, nº cat. 326-330 88,5 cm alt (escultura) y 105,5 cm alt (peana)
Balclis
Jul. 13, 2016
Josep Clarà Olot 1878 - Barcelona 1958 Female academy
Est: €250 -
Josep Clarà Olot 1878 - Barcelona 1958 Female academy Sanguine on paper Firmada y fechada en 1934 26x36,5 cm Josep Clarà Olot 1878 - Barcelona 1958 Academia femenina Sanguina sobre papel Firmada y fechada en 1934 26x36,5 cm
Balclis
Jul. 13, 2016
After Josep Clarà Olot 1878 - Barcelona 1958 "El Ritmo"
Est: €400 -
After Josep Clarà Olot 1878 - Barcelona 1958 "El Ritmo" Sculpture in bronze Con firma y firma del fundidor G. Bechini. Modelo original de 1910. Una versión original en bronce se conserva en el MNAC, Barcelona (nº inv. 10967). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 73-75 y 164, nº cat. 80. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 50x34x31 cm alt. Según Josep Clarà Olot 1878 - Barcelona 1958 "El Ritmo" Escultura en bronce Con firma y firma del fundidor G. Bechini. Modelo original de 1910. Una versión original en bronce se conserva en el MNAC, Barcelona (nº inv. 10967). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 73-75 y 164, nº cat. 80. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 50x34x31 cm alt.
Balclis
Jul. 13, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "Niño 'Baco'"
Est: €900 -
Josep Clarà Olot 1878 - Barcelona 1958 "Niño 'Baco'" Sculpture in bronze Firmada y con firma del fundidor Bechini. Base en mármol. Existen otras versiones en yeso y mármol, realizadas en 1940 y 1958 y conservadas en el MNAC, Barcelona (nº inv. 90586, 90579 y 90128) - Museu Comarcal de la Garrotxa, Olot (nº inv. 7109, 7098 y 7002). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 214 y 288, nº cat. 379, 380 y 826 51 cm alt total Josep Clarà Olot 1878 - Barcelona 1958 "Niño 'Baco'" Escultura en bronce Firmada y con firma del fundidor Bechini. Base en mármol. Existen otras versiones en yeso y mármol, realizadas en 1940 y 1958 y conservadas en el MNAC, Barcelona (nº inv. 90586, 90579 y 90128) - Museu Comarcal de la Garrotxa, Olot (nº inv. 7109, 7098 y 7002). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 214 y 288, nº cat. 379, 380 y 826 51 cm alt total
Balclis
Jul. 13, 2016
After Josep Clarà Olot 1878 - Barcelona 1958 "Nu femení"
Est: €300 -
After Josep Clarà Olot 1878 - Barcelona 1958 "Nu femení" Sculpture in bronze Con firma, localizada y fechada en París en 1906. Modelo original de 1905. Base en mármol. Se conservan versiones en yeso y bronce en el MNAC, Barcelona - Museu Comarcal de la Garrotxa, Olot (nº inv. MCGO 19 y MCGO 125). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 157-158, nº cat. 42 y 43. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 41,5 cm escultura Según Josep Clarà Olot 1878 - Barcelona 1958 "Nu femení" Escultura en bronce Con firma, localizada y fechada en París en 1906. Modelo original de 1905. Base en mármol. Se conservan versiones en yeso y bronce en el MNAC, Barcelona - Museu Comarcal de la Garrotxa, Olot (nº inv. MCGO 19 y MCGO 125). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 157-158, nº cat. 42 y 43. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 41,5 cm escultura
Balclis
Jul. 13, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "Estàtica"
Est: €7,200 -
Josep Clarà Olot 1878 - Barcelona 1958 "Estàtica" Sculpture in bronze Firmada. Modelo original de 1926. Base en mármol. Existen otras versiones en yeso y bronce, conservadas en el MNAC, Barcelona (nº inv. 90032 y 99929) - Museu Comarcal de la Garrotxa, Olot (nº inv. 681 y 7556). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 90-92, 182, 183, nº cat. 194 132 cm alt (escultura) y 5x44x32 cm (peana) Josep Clarà Olot 1878 - Barcelona 1958 "Estàtica" Escultura en bronce Firmada. Modelo original de 1926. Base en mármol. Existen otras versiones en yeso y bronce, conservadas en el MNAC, Barcelona (nº inv. 90032 y 99929) - Museu Comarcal de la Garrotxa, Olot (nº inv. 681 y 7556). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 90-92, 182, 183, nº cat. 194 132 cm alt (escultura) y 5x44x32 cm (peana)
Balclis
May. 26, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "Plenitud"
Est: €10,000 -
Josep Clarà Olot 1878 - Barcelona 1958 "Plenitud" Sculpture in bronze with pedestal in marble Firmada y con firma del fundidor Bechini. Modelo original hacia 1936. Existen otras versiones en yeso, mármol y bronce, conservadas en el MNAC, Barcelona (nº inv. 90038, 90174, 90310 y 90577) - Museu Comarcal de la Garrotxa, Olot (nº inv. 5959, 7003, 7006 y 7010). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 205-206, nº cat. 326-330 88,5 cm alt escultura y 105,5 cm alt peana Josep Clarà Olot 1878 - Barcelona 1958 "Plenitud" Escultura en bronce con peana en mármol Firmada y con firma del fundidor Bechini. Modelo original hacia 1936. Existen otras versiones en yeso, mármol y bronce, conservadas en el MNAC, Barcelona (nº inv. 90038, 90174, 90310 y 90577) - Museu Comarcal de la Garrotxa, Olot (nº inv. 5959, 7003, 7006 y 7010). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 205-206, nº cat. 326-330 88,5 cm alt escultura y 105,5 cm alt peana
Balclis
May. 26, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "El ritmo"
Est: €2,000 -
Josep Clarà Olot 1878 - Barcelona 1958 "El ritmo" Sculpture in bronze with pedestal in marble Firmada y con firma del fundidor, "G. Bechini". Modelo original de 1910. Existen otras versiones en bronce, una de ellas conservada en el MNAC, Barcelona (nº inv. 10967). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 73-75 y 164, nº cat. 80 53x28x31 cm (sin peana) Josep Clarà Olot 1878 - Barcelona 1958 "El ritmo" Escultura en bronce con peana en mármol Firmada y con firma del fundidor, "G. Bechini". Modelo original de 1910. Existen otras versiones en bronce, una de ellas conservada en el MNAC, Barcelona (nº inv. 10967). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 73-75 y 164, nº cat. 80 53x28x31 cm (sin peana)
Balclis
May. 26, 2016
Josep Clarà Olot 1878 - Barcelona 1958 Landscape
Est: €200 -
Josep Clarà Olot 1878 - Barcelona 1958 Landscape Oil on canvas Firmado. En el reverso, una etiqueta donde se documenta su venta en subasta por Vincent de Muizon y Dominique Le Coënt en Senlis. Bibliografía de referencia: "Clarà: dibuixos", Barcelona, MNAC, 1997 25,5x35,5 cm Josep Clarà Olot 1878 - Barcelona 1958 Paisaje Óleo sobre lienzo Firmado. En el reverso, una etiqueta donde se documenta su venta en subasta por Vincent de Muizon y Dominique Le Coënt en Senlis. Bibliografía de referencia: "Clarà: dibuixos", Barcelona, MNAC, 1997 25,5x35,5 cm
Balclis
May. 26, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "Erato"
Est: €1,200 -
Josep Clarà Olot 1878 - Barcelona 1958 "Erato" Sculpture in bronze, with base in marble Firmada. Modelo original de 1905. Se conserva dos versiones en yeso y bronce en el MNAC, Barcelona - Museu de la Garrotxa, Olot (nº inv. 90173, versión en bronce). Bibliografía de referencia: Mercè Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 43-45 y 157, nº cat. 41; Cristina Rodriguez, "Al taller de Josep Clarà. Els guixos d'un escultor irrepetible", Barcelona, MEAM, 2016, p. 73, nº cat. 7. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 32,5x20,5x19,5 cm escultura Josep Clarà Olot 1878 - Barcelona 1958 "Erato" Escultura en bronce con base en mármol Firmada. Modelo original de 1905. Se conserva dos versiones en yeso y bronce en el MNAC, Barcelona - Museu de la Garrotxa, Olot (nº inv. 90173, versión en bronce). Bibliografía de referencia: Mercè Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 43-45 y 157, nº cat. 41; Cristina Rodriguez, "Al taller de Josep Clarà. Els guixos d'un escultor irrepetible", Barcelona, MEAM, 2016, p. 73, nº cat. 7. Procedencia: colección de la Fundació Privada Bosch i Aymerich, Barcelona 32,5x20,5x19,5 cm escultura
Balclis
Feb. 25, 2016
CLARÁ, JOSEP (Gerona, 1878-1958). “Danzarina”. Litografía. Firmada en plancha. Med.: 30x23 cm.
Est: -
CLARÁ, JOSEP (Gerona, 1878-1958). “Danzarina”
Subastas Galileo
Feb. 24, 2016
Josep Clarà Olot 1878 - Barcelona 1958 "Niño leyendo"
Est: €1,500 -
Josep Clarà Olot 1878 - Barcelona 1958 "Niño leyendo" Terracotta relief Firmado. Realizado hacia 1948. Existe otro ejemplar en piedra en el MNAC, Barcelona (nº inv. 90035) - Museu Comarcal de la Garrotxa, Olot (nº inv. 7632). Bibliografía de referencia: M. Doñate, Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 247, nº cat. 577" 38x31x5,4 cm Josep Clarà Olot 1878 - Barcelona 1958 "Niño leyendo" Relieve en terracota Firmado. Realizado hacia 1948. Existe otro ejemplar en piedra en el MNAC, Barcelona (nº inv. 90035) - Museu Comarcal de la Garrotxa, Olot (nº inv. 7632). Bibliografía de referencia: M. Doñate, "Clarà. Catàleg del fons d'escultura", Barcelona, MNAC, 1997, p. 247, nº cat. 577 38x31x5,4 cm
Balclis