Pablo Emilio or Pau Emili Gargallo Catalán (5 January 1881 – 28 December 1934), known simply as Pau or Pablo Gargallo, was a Spanish sculptor and painter.
Born in Maella, Aragon, he moved to Barcelona, Catalonia, with his family in 1888, where he would begin his training in the arts. Gargallo developed a style of sculpture based on the creation of three-dimensional objects from pieces of flat metal plate, and he also used paper or cardboard. Some of these sculptures have a form of cubism. For example, only one half of a face may be shown, and it may have only one eye. He also made more traditional sculptures in bronze, marble and other materials. He is considered to be one of the most significant artists of the town of ralls Aragonese avant-garde.
He spent a significant part of his life in the Montparnasse Quarter of Paris, France. In 1903, he invested a studio at the Cité d'Artistes, rue Vercingétorix in the 14th arrondissement of Paris. There he met Max Jacob and Carlos Casagemas, both friends of Pablo Picasso.[1]
In 1907, he stayed at the artists commune Le Bateau-Lavoir in Montmartre[2] with Max Jacob, Juan Gris and other artists. He spent his first night in the studio of his friend Picasso, whose head he modeled as a sculpture. There he was able to contemplate Picasso's seminal proto-Cubist painting Les Demoiselles d'Avignon. Shortly thereafter, Juan Gris introduced him to Magali Tartanson, whom he married in 1915. During this period, Gargallo was influenced by the work of Picasso.
Among Gargallo's works are three pieces based on Greta Garbo: "Masque de Greta Garbo à la mèche," "Tête de Greta Garbo avec chapeau," and "Masque de Greta Garbo aux cils." Together with Dídac Masana, Gargallo sculpted the great arch over the front of the stage of the Palau de la Música Catalana in Barcelona. The work depicts the Ride of the Valkyries in Richard Wagner's opera Die Walküre (The Valkyries).
Gargallo suffered from fulminating bronchial pneumonia and died in Reus, Tarragona. He is considered to be one of the most significant artists of the Spanish avant-garde,[citation needed] and in 1985 the Pablo Gargallo Museum in Zaragoza opened in the former Argillo Palace. Gargallo's birthplace and early home, on the street now dedicated to his name in Maella, Zaragosa, has been transformed into a museum dedicated to his life and works.
Pablo Gargallo (Maella, Zaragoza, 1881-Reus, Tarragona, 1934) Mujer a la toilette. Dibujo a tinta sobre papel. Firmado y fechado en 1909. Bibliografía. Reproducido en el libro: "Pablo Gargallo (1881-1934) Dibujos. Catálogo razonado". Tomo 2, por Jean Anguera Gargallo y María José Salazar. Pág.: 732-733. Nº 217. Editado por la Fundación Marcelino Botín. Santander, 2010. "Gargallo 1881-1981. Exposició del Centenari". Catálogo de la exposición celebrada en el Palau de la Virreina. Pág.: 25. Barcelona, 1981. y en la Revista "Papitu". Barcelona, Noviembre 1909. Procedencia: Colección particular, Barcelona. Agradecemos la colaboración de la Sra. Camille Anguera, responsable de Proyectos Culturales de la Sucesión Gargallo, en la catalogación de esta obra. Se expedirá el certificado a petición del adjudicatario. 38,5 x 33 cm.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Harlequin's Head", 1928. Drypoint on laid paper, copy 9/12. Signed in plate: PG 28. With hand-painted period frame. Presents some lack of polychrome. Some stains on the paper. Measurements: 18 x 13 cm (plate); 22 x 17 cm (paper); 43 x 37 cm (frame). Rare print by the artist. Only one edition of 12 numbered copies was made of this work. The Pablo Gargallo Museum has the original plates of the only four drypoint engravings by Gargallo (Self-Portrait, Harlequin's Head, Female Nude and Ballerina). Pablo Gargallo is considered the precursor of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training, in the workshop of the sculptor Eusebio Arnau and in the School of La Lonja, with Venancio Vallmitjana as his main teacher. At the height of Modernism in Barcelona, Gargallo frequented the gatherings of "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. That is why his first works are influenced by Modernism, as is the case of the decoration of Barcelona buildings that he made in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo or the Palau de la Música. In 1903 Gargallo obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this moment on his style acquires a very personal dimension, derived from his interpretation of cubism, based on the search for a formal synthesis of the figure in geometric planes always fluid, replacing conventional materials with wrought iron sheets, and introducing a new sculptural language by introducing the void as volume and giving his figures a great expressive dramatism. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.
Pablo GARGALLO Sans titre - 1914/1915 Masque en argent monté sur épingle édité à 50 exemplaires non numérotée mais contrôlée - d'après une épingle de cravate de 1916 Hauteur: 8,5 cm Catalogue Raisonné reproduit p 229, un exemplaire similaire Silver. Unumbered from an edition of 50 Height : 3.34 in. Pablo GARGALLO
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Petite maternité", 1916. Bronze. Exemplary H.C. Current print run of 35 copies. Work reproduced in: Pierrette Gargallo Anguera, "PABLO GARGALLO. Catalogue raisonné". Editions de l'Amateur, Paris. 1998. Size; 13.2 x 8.7 cm; 31.5 x 26.5 cm (frame). Throughout his life, Gargallo developed in parallel two apparently opposing styles: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experiments with the disintegration of space. However, both have in common the central theme of the human figure and the harmonious combination of space and volume. In his works with classical roots, such as the one we present here, we can appreciate the same taste for fluid planes, the appreciation of hollows and massifs, of the fragment for the whole, as in paradigmatic works of his avant-garde production, such as "The Prophet" (1933). Thus, in this "Torso of an Adolescent" the volume does not appear simply modelled, but acquires entity thanks to the sinuous profile, the emptiness that surrounds it, the missing fragments that demand the active participation of the spectator. As in his iconic masks, here Gargallo sculpts the void, while maintaining the mass in the key of classical, archaic and timeless idealisation. In fact, this sculpture that ends up being a drawing in the air, like "Greta Garbo with eyelashes" (1930) is the reduction to the essence or purification of this other, more traditional-looking statuary, and one cannot be thought of without the other. In fact, we can see works which are exactly symmetrical in volumetric terms and which represent both languages, such as "Silhouette of a Young Man" and "Boy on the Beach", both made in 1934. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, such as the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, attempting to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofía in Madrid, among many others.
PABLO GARGALLO (Spanish school, 1881-1934). Art Nouveau mirror in gilded plaster and sculptured "lady and flowers". Signed lower left. 55 x 101 cm. PABLO GARGALLO (escuela española, 1881-1934). Espejo art nouveau en yeso dorado y esculturado "dama y flores". Firmado abajo a la izquierda. 55 x 101 cm.
Pablo Gargallo 1881 - 1934 Masque d'homme copper height: 11 cm; 4⅜ in. Executed in 1910-11, this work is unique. __________________________________________________________________________ Pablo Gargallo 1881 - 1934 Masque d'homme cuivre hauteur: 11 cm; 4⅜ in. Exécuté en 1910-11, cette œuvre est unique.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Small torso of a woman", 1925. Sculpture in patinated bronze on a wooden base, copy S/N. Unsigned. A copy of this sculpture is kept in the Pablo Gargallo Museum in Saragossa. Size: 26 x 8 x 8 cm (figure); 10 x 11 x 11 x 11 cm (base). In this sculpture, Pablo Gargallo offers us a suggestive nude female body. Its origin is the figure, retouched and modified, of one of the "Aguadoras", 1925, specifically the thin one. In this work Gargallo also connects with the avant-garde, thanks to a work of purification and formal synthesis that strips the work of any ancillary and anecdotal element, seeking the essence, that immutable thing that unites the archaic world with the present day of the 20th century. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, such as the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, attempting to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Throughout his life, Gargallo developed two apparently opposing styles in parallel: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experimented with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Musée d'Art Moderne in Paris and the Reina Sofía in Madrid, among many others.
Pablo Gargallo 1881 - 1934 Baño de sol (Sun Bath) 1932 bronze, warm brown patina signed P. Gargallo (under the left hand), inscribed E. GODARD / Fondr and H.C. 9 ⅝ x 11 ¾ x 18 ⅛ in. A letter from Pierrette Anguera-Gargolla, the artist's daughter, dated 21 December 1981, attests the authenticity of this bronze. ____________________________________________ Pablo Gargallo 1881 - 1934 Baño de sol (Bain de soleil) 1932 bronze à patine mordorée signé P. Gargallo (sous la main gauche), inscrit E. GODARD / Fondr et H.C. 24,5 x 29 x 46 cm Une lettre de Pierrette Anguera-Gargolla, fille de l'artiste, en date du 21 décembre 1981 atteste de l'authenticité de ce bronze.
Bronze On the base signed, dated, numbered 3/7 and with foundry stamp: "E. Godard Cire Perdue" Attached certificate of authenticity signed on photography by Pablo Gargallo de Anguera, son of the sculptor. On the back of the photograph, the label of the Theo Gallery in Madrid, which he delivered. Pablo Gargallo usually worked with various plaster models. In this case, he made two models, the first of which was sent to the Godard foundry to serve as a foundry model, but it burned in a fire, using the second model, which differs in slight details from the first, of which only They melted 4 bronzes. From the second model, To which this work belongs, 7 copies numbered from 1 to 7 were made; three proofs of artists numbered from 1 to 3, in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection , Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo . Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm 7 copies numbered from 1 to 7 were made; three proofs of artists numbered from 1 to 3, in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection , Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo . Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm 7 copies numbered from 1 to 7 were made; three proofs of artists numbered from 1 to 3, in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection , Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo . Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm three proofs of artists numbered from 1 to 3, in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection , Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo . Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm three proofs of artists numbered from 1 to 3, in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection , Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo . Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection, Madrid Bibliography: -Courthion, P ., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo. Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm in addition to a copy for the Gargallo Zaragoza Museum and a H/C copy for exhibitions. Provenance: -Theo Gallery in Madrid, acquired by the current owners in 1975 -Private collection, Madrid Bibliography: -Courthion, P ., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 -Gargallo-Anguera, P., "Pablo Gargallo. Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm acquired by the current owners in 1975 -Private collection, Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 - Gargallo-Anguera, P., "Pablo Gargallo. Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm acquired by the current owners in 1975 -Private collection, Madrid Bibliography: -Courthion, P., "L'oeuvre complet de Pablo Gargallo”, Societé Internationale d'Art XXe siecle, Milan; pp. 156 and 157, nº147 - Gargallo-Anguera, P., "Pablo Gargallo. Catalog raisonné", Les eéditions de L'Amateur, p.194, nº 89 Exhibitions: - Theo Gallery in Madrid, 1975. Reproduced in the exhibition catalogue, p. 49 (the catalog is included) Measurements : 17.5 x 29 x 12.8cm
SCULPTURE ART DÉCO "BAIGNEUSE EN CREUX" de Pablo GARGALLO (1881-1934) Bronze à patine brune posthume Signé et daté 1922 sur la terrasse et marque de fondeur "E. Godard Fdeur Paris" Numéroté 4/7 54 x 60 x 31 cm
Pablo Gargallo (1881-1934) Scène de tauromachie (recto); Souvenir d'un déjeuner chez Marianne... plume et encre de Chine et lavis d'encre (recto); graphite sur papier (verso) 30.5 x 21.8 cm.
Bronze relief, framed. Spanish sculptor and painter. He is considered one of the most important and innovative sculptors of the s. XX, combining classicism with experimentation. In The Prophet, from 1933, he culminates his entire career, which incorporates the cubist avant-garde in a sculpture that combines volume and emptiness, and possesses great energy of an expressionist nature. He was a disciple of Eusebio Arnau, for whom he worked in his workshop. He was related to the artists of Els Quatre Gats, such as Picasso or Isidro Nonell. He collaborated with Lluís Domènech i Montaner in sculptures for his works, such as the Palau de la Música Catalana, the Hospital de San Pablo in Barcelona; and at the Institut Pere Mata in Reus with stone and bronze sculptures. Reference bibliography: Ordóñez Fernández, Rafael (2004). Pablo Gargallo Museum. Catalogue. Saragossa: Zaragoza City Council. ISBN 84-8069-351-7. Bronze measures: 12 x 8
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Music hall", c. 1889. Pencil on paper. Work reproduced in: - MARÍA JOSÉ SALAZAR, Catalogue Raisonné; Pablo Gargallo (1881-1934), Drawings. Volume I, p. 180. Fig. 128. Signed in the lower right corner. Size: 32.5 x 20.5 cm; 69 x 56 cm (frame). Known for his sculptural work, Pablo Gargallo not only used drawing as a support for his three-dimensional work, but also as a means of personal and independent expression. An example of this is this drawing, probably executed in Barcelona, in which he shows several young people with their backs to the viewer, awaiting a spectacle that is outside the composition. Aesthetically, a strong stylistic influence of Catalan noucentisme can be appreciated. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, as in the case of the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects in an attempt to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Throughout his life, Gargallo developed two apparently opposing styles in parallel: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experimented with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Musée d'Art Moderne in Paris and the Reina Sofía in Madrid, among many others.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Sleeping" or "The Reaper", 1924. Sculpture in patinated bronze on marble base, copy 6/7. Posthumous edition of 1974. Signed, dated and numbered. The sculpture of the same characteristics made in 1924 is referenced in the artist's catalogue raisonné. Size: 12 x 25,5 x 18 cm (sculpture); 2 x 20 x 27,5 cm (base). "Sleeping" or "The Harvester" personifies, through an opulent female nude lying on sheaves of wheat, the spirit and image of the Catalonia Gargallo loved. Made by the Aragonese artist in 1924, the year in which he settled permanently in Paris and began one of the most interesting periods of his artistic career, there are other examples of this sculpture in the Museo Nacional Centro de Arte Reina Sofía and the Museo Nacional de Arte de Cataluña. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, as in the case of the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects in an attempt to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Throughout his life, Gargallo developed two apparently opposing styles in parallel: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experimented with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Musée d'Art Moderne in Paris and the Reina Sofía in Madrid, among many others.
Signed, dated and justified Ex.A 1/3 on the base. Presented on marble base. Certificate of authenticity from Pierrette Gargallo Anguera dated 1994 is enclosed. Bibliography: -Pierre Courthion "L'oeuvre complet de Pablo Gargallo, Societé Internationale d'Art XXe siecle, Milan; nº 84a. pag 145 y 70 -Pierette Gargallo-Anguera "Pablo Gargallo catalogue raisonné" Les eéditions de L'Amateur, nº108 pag 133 Bronze 11,8 x 26 x 16 cm
Pablo GARGALLO 1881-1934 Petite faunesse étendue - 1906 Bronze à patine brune Signé du monogramme et numéroté sous la cuisse droite "PG 2/7", marque du fondeur sous la fesse droite "E.Godard / Fondr" h: 13,50 w: 4,50 d: 5,60 cm Provenance : Galerie Marwan Hoss, Paris Galeria Paco Rebes, Barcelone A l'actuel propriétaire par cession successives Bibliographie : P. Courthion, "Gargallo", Skira, Paris, 1937 (un exemplaire similaire) P. Courthion, " Pablo Gargallo.L'oeuvre complet", XXe siècle, Paris, 1973, n°17 p.129, reproduit en noir et blanc p. 128 (un exemplaire similaire) R. Ordonez Fernandez, "Catalogo del Museo Pablo Gargallo", Municipalité de Saragosse, Saragosse, 1988 (un exemplaire similaire) R. Ordonez Fernandez, "Catalogo del Museo Pablo Gargallo", Electa, Madrid, 1994 (un exemplaire similaire) P. Gargallo-Anguera, "Pablo Gargallo. Catalogue raisonné", Les Editions de l'Amateur, Paris 1998, n°28a p.74, reproduit en noir et blanc p.73 (un exemplaire similaire) Commentaire : Un certificat de Pierrette Anguera-Gargallo sera remis à l'acquéreur. Bronze with brown patina; signed with the monogram and numbered under the right thigh, foundry mark under the right buttock Estimation 3 000 - 4 000 €
Drypoint print Signed and dated 1928. On the lower margin, numbered 10/12 and signed in pencil. This is the second known print of the only print run of this plate, made during the sculptor's lifetime. The plate is kept in Gargallo Museum in Zaragoza 32x24.9 cm.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Maternity", 1916 Relief in bronze, copy XIV/XXXV. Signed, dated and justified. Work published in "Pablo Gargallo. Catalogoue raisonné, Pierrette Gargallo-Anguera, Ed. Les Editions de l'Amateur, 1998, Paris. Other copies of this same print run have been exhibited in: - "Gargallo", Galerías Laietanas, Barcelona, October 1916, - Gargallo", Wilhelm Lehmbruck Museum, Duisbrug, November-December 1966. - Gargallo", Rodin Museum, Paris, April-June 1970. - Gargallo", Spanish Museum of Contemporary Art, Madrid, October-December 1971. - Gargallo", Palau de la Virreina, Barcelona, December 1971-January 1972. - Centenaire P. Gargallo. 1881-1981", Musée d'Art Moderne de la Ville, Paris, Palau de la Virreina, Barcelona, Fudaçao Calouste Gulbenkian, Lisbonne and Palacio de Cristal, Madrid, 1980-1982. - "Gargallo. Pierres, terres et bronzes. 1900-1394", Galerie Marwan Hoss, Paris, November 1993-January 1994. - Pablo Gargallo", Marlborough Gallery, Madrid, January-February 1994. - Pablo Gargallo", Association Campredon, Art et Culture, L'Isle-sur-la-Sorgue, July-October 1995. Measurements: 13 x 8.5 cm; 34 x 26 cm (frame). Pablo Gargallo was formed in Barcelona, in the School of Fine Arts and as a disciple of Eusebi Arnau, and was related to the artists of "Els Quatre Gats", so his first works will drink of modernism. In 1903 he obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Maternity", 1916 Relief in bronze, copy XIV/XXXV. Signed, dated and justified. Work published in "Pablo Gargallo. Catalogoue raisonné, Pierrette Gargallo-Anguera, Ed. Les Editions de l'Amateur, 1998, Paris. Other copies of this same print run have been exhibited in: - "Gargallo", Galerías Laietanas, Barcelona, October 1916, - Gargallo", Wilhelm Lehmbrück Museum, Duisbrug, November-December 1966. - Gargallo", Musée Rodin, Paris, April-June 1970. - Gargallo", Spanish Museum of Contemporary Art, Madrid, October-December 1971. - Gargallo", Palau de la Virreina, Barcelona, December 1971-January 1972. - Centenaire P. Gargallo. 1881-1981", Musée d'Art Moderne de la Ville, Paris, Palau de la Virreina, Barcelona, Fudaçao Calouste Gulbenkian, Lisbon and Palacio de Cristal, Madrid, 1980-1982. - Gargallo. Pierres, terres et bronzes. 1900-1394", Galerie Marwan Hoss, Paris, November 1993-January 1994. - Pablo Gargallo", Marlborough Gallery, Madrid, January-February 1994. - Pablo Gargallo", Association Campredon, Art et Culture, L'Isle-sur-la-Sorgue, July-October 1995. Measurements: 13 x 8.5 cm; 34 x 26 cm (frame). Pablo Gargallo trained in Barcelona, at the School of Fine Arts and as a disciple of Eusebi Arnau, and was related to the artists of "Els Quatre Gats", which is why his first works were influenced by modernism. In 1903 he obtained a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he travelled there frequently. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects in an attempt to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofía in Madrid, among many others.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Maternity", 1916 Relief in bronze, copy XIV/XXXV. Signed, dated and justified. Work published in "Pablo Gargallo. Catalogoue raisonné, Pierrette Gargallo-Anguera, Ed. Les Editions de l'Amateur, 1998, Paris. Other copies of this same print run have been exhibited in: - "Gargallo", Galerías Laietanas, Barcelona, October 1916, - Gargallo", Wilhelm Lehmbruck Museum, Duisbrug, November-December 1966. - Gargallo", Rodin Museum, Paris, April-June 1970. - Gargallo", Spanish Museum of Contemporary Art, Madrid, October-December 1971. - Gargallo", Palau de la Virreina, Barcelona, December 1971-January 1972. - Centenaire P. Gargallo. 1881-1981", Musée d'Art Moderne de la Ville, Paris, Palau de la Virreina, Barcelona, Fudaçao Calouste Gulbenkian, Lisbonne and Palacio de Cristal, Madrid, 1980-1982. - "Gargallo. Pierres, terres et bronzes. 1900-1394", Galerie Marwan Hoss, Paris, November 1993-January 1994. - Pablo Gargallo", Marlborough Gallery, Madrid, January-February 1994. - Pablo Gargallo", Association Campredon, Art et Culture, L'Isle-sur-la-Sorgue, July-October 1995. Size: 13 x 8.5 cm; 34 x 26 cm (frame). Pablo Gargallo was formed in Barcelona, in the School of Fine Arts and as a disciple of Eusebi Arnau, and was related to the artists of "Els Quatre Gats", reason why his first works will drink of the modernism. In 1903 he obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.
PABLO GARGALLO (Maella 1881–1934 Reus) Femme couchée en creux. 1923. Bronze, black-green patina. Later cast. Monogrammed on the right of the base: P, numbered EA 2/3 and with the foundry mark: E. GODARD Fond. 37.5 × 15.5 × 6.5 cm. The authenticity of the work has been confirmed by Pierrette Gargallo Anguera, Paris, December 1988. Provenance: - Galerie Marwan Hoss, Paris. - Swiss collection. Literature: - Pierre Courthion: L'œuvre complet de Pablo Gargallo, Paris 1973, no. 78 (with ill. of the lead casting). - Jean Anguera: Gargallo, Paris 1979 (with ill. another cast p. 88). - Pierrette Gargallo-Anguera: Pablo Gargallo, catalogue raisonné, Paris 1998, no. 101 (with ill. of the lead casting p. 41). --------------- PABLO GARGALLO (Maella 1881–1934 Reus) Femme couchée en creux. 1923. Bronze, schwarz-grüne Patina. Späterer Guss. Auf der Platte rechts monogrammiert: P, mit der Nummerierung EA 2/3 und dem Giesserstempel: E. GODARD Fond. 37,5 × 15,5 × 6,5 cm. Die Authentizität des Werks wurde von Pierrette Gargallo Anguera bestätigt, Paris, Dezember 1988. Provenienz: - Galerie Marwan Hoss, Paris. - Schweizer Sammlung. Literatur: - Pierre Courthion: L'œuvre complet de Pablo Gargallo, Paris 1973, Nr. 78 (mit Abb. des Blei-Gusses). - Jean Anguera: Gargallo, Paris 1979 (mit Abb. anderer Guss S. 88). - Pierrette Gargallo-Anguera: Pablo Gargallo, Catalogue raisonné, Paris 1998, Nr. 101 (mit Abb. des Blei-Gusses S. 41).
Pablo GARGALLO 1881-1934 Maternité - 1922 Bronze à patine brun noir Signé et daté sur la tranche droite de la terrasse "Gargallo / 1922",marque de fondeur et numéro sur la tranche arrière de la terrasse "GRANDOMME ANDRO FONDEUR / 1/7" h: 32,30 cm Provenance : Collection Maurice Raynal, Paris Succession Dufaur de Gavardie Vente Paris, Me Briest, 8 mai 2001, Succession de Madame de Gavardie, lot 31 Acquis lors de cette vente par l'actuel propriétaire Collection particulière européenne Commentaire : L'authenticité de cette oeuvre a été confirmée par Monsieur Jean Anguéra. Un certificat de Pierrette Anguéra-Gargallo sera remise à l'acquéreur. Bronze with brown black patina; signed and dated on the right edge of the base, foundry mark and number on the back edge of the base Estimation 30 000 - 50 000 €
Drypoint print Signed and dated 1928. On the lower margin, numbered 10/12 and signed in pencil. This is the second known print of the only print run of this plate, made during the sculptor's lifetime. The plate is kept in Gargallo Museum in Zaragoza 32x24.9 cm.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Sleeper", 1924. Bronze, 1/3. Provenance: Malborough Gallery Madrid; Pierrette Gargallo. Attached certificate issued by Pierrette Gargallo Anguera, author's daughter. Signed and dated. Work reproduced in: - Reasoned Catalog of the artist, Pierrette Gargallo-Anguera, p. 133, # 108. - “Complete Catalog of Pablo Gargallo's work”, Pierrette Couration, p. 70. Measurements: 11.8 x 26 x 18 cm. "Sleeping" or "The Harvester" personifies, through an opulent female nude lying on sheaves of wheat, the spirit and image of the Catalonia Gargallo loved. Created by the Aragonese artist in 1924, the year in which he settled permanently in Paris and began one of the most interesting periods of his artistic career, there are other examples of this same sculpture housed in the Museo Nacional Centro de Arte Reina Sofía and the Museo Nacional de Arte de Cataluña. Pablo Gargallo is considered the precursor of iron sculpture, and learned the technique of forging with his father, who owned a blacksmith shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training, in the workshop of the sculptor Eusebio Arnau and in the School of La Lonja, with Venancio Vallmitjana as his main teacher. At the height of Modernism in Barcelona, Gargallo frequented the gatherings of "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. It is for this reason that his first works are influenced by Modernism, as is the case of the decoration of Barcelona buildings that he made in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo or the Palau de la Música. In 1903 Gargallo obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this moment on his style acquires a very personal dimension, derived from his interpretation of cubism, based on the search for a formal synthesis of the figure in geometric planes always fluid, replacing conventional materials with wrought iron sheets, and introducing a new sculptural language by introducing the void as volume and giving his figures a great expressive dramatism. Throughout his life, Gargallo developed in parallel two apparently opposing styles: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experiments with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.
PABLO GARGALLO (1881-1934) Hommage à Marc Chagall signé, daté et inscrit 'Hommage à Chagall P. Gargallo 1933' (au dos); numéroté et avec le cachet du fondeur '6/7' (sur la base) bronze à patine brun foncé Hauteur: 57 cm. Conçu en 1933; cette épreuve fondue ultérieurement dans une édition de 7 exemplaires numérotés de 1/7 à 7/7 plus 3 épreuves d'artiste signed, dated and inscribed 'Hommage à Chagall P. Gargallo 1933' (on the back); numbered and stamped with the foundry mark '6/7' (on the base) bronze with dark brown patina Height: 14 5/8 in. Conceived in 1933; this bronze cast at a later date in an edition of 7 numbered 1/7 to 7/7 plus 3 Provenance Galerie Marwan Hoss, Paris. Acquis auprès de celle-ci par la famille du proprétaire actuel. Bibliographie P. Courthion et P. Anguera-Gargallo, L'OEuvre Complet de Pablo Gargallo, Paris, 1973, p. 158, no. 151 (la version en fer illustrée). P. Anguera-Gargallo et P. Dagen, Pablo Gargallo, Catalogue raisonné, Paris, 1998, p. 202, no. 195 (une version illustrée; un détail d'une version illustré, p. 204). Jean Anguera a confirmé l’authenticité de cette oeuvre. Hommage à Marc Chagall en cours de réalisation. Photographie de Pablo Gargallo.
Cut and crafted bronze plates. Rosewood base. The Pablo Gargallo Museum in Zaragoza preserves the cardboard templates of a practically equal model. The Espona Foundation of Barcelona preserves a copy in iron from 1930. 16x28x7 cm.
PABLO GARGALLO 1881-1934. La porteuse d’eau 1925. Pierre calcaire rosé. Hauteur 48 cm, long 17 cm, profondeur 12,5 cm Pièce unique taillée par l’artiste en 1925 vendue lors de l’exposition rétrospective de 1935 à la Sala Pares de Barcelone, ancienne collection Santiago Marti, Barcelone. Exposée à l’institut d’art moderne de Valence et au centre Bellevue de Biarritz en 2004 (Reproduit page 229 du catalogue). Reproduit au catalogue raisonné de l’œuvre de Gargallo-Anguera sous le n°116, p143.
PABLO GARGALLO (1881-1934) Maternité en creux, 1922 Épreuve en bronze à patine mordorée Signée du monogramme de l'artiste et numérotée EA 2/3 Fonte au sable Busato, circa 1957 Modèle conçu en 1922 et fondue en bronze dans une édition de 7 exemplaires, plus 3 épreuves d'artiste et une épreuve hors commerce. 31 x 16,5 x 16,5 cm **Provenance** Acquis auprès de Madame Gargallo dans les années 1960 par le père de l'actuel propriétaire Collection particulière, France **Bibliographie** Pierre Courthion, « L'oeuvre complet de Pablo Gargallo », Paris, 1973, no. 77, un exemplaire similaire reproduit page 9 et page 141 Pierrette Gargallo-Anguera, « Pablo Gargallo, Catalogue raisonné », Paris, 1998, n°. 100-100a, un exemplaire similaire reproduit page 123 Un certificat de Madame Pierrette Gargallo-Anguera en date du 19 mai 2003 sera remis à l'acquéreur.
Pablo Gargallo (1881-1934) Petite bacchante à la feuille, 1932 Bronze cast with black patina, foundry stamp; monogramed and numbered 5/7 height: 6 7/8 in. €20,000-30,000 PROVENANCE : Galerie Paco Rebes, Barcelone Collection particulière, France Collection particulière, Barcelone BIBLIOGRAPHIE : L'œuvre complète de Pablo Gargallo, XXe siècle, Pierre Courthion, Paris 1973, reproduite sous le numéro 150 page 157 Pierrette Gargallo-Anguerra, Catalogue Raisonné de Pablo Gargallo, Paris, 1998, reproduite sous le numéro 193 pages 199 et 200? PABLO GARGALLO (1881-1934) PETITE BACCHANTE A LA FEUILLE, 1932 Épreuve en bronze à patine noire Cachet de fondeur “cire perdue” Monogrammée, numérotée 5/7 HAUTEUR : 17.4 CM
Pablo Gargallo (1881-1934) Dormeuse, 1924 >Bronze cast with black patina ; inscribed "P. Gargallo and dated 1924"; green marble pedestal This cast is one of an edition of 9 copies without number; seven other copies numbered 1/7 to 7/7; three artists proofs numbered EA 1/3 to 3/3. height: 5 11/16 in. €20,000-30,000 PROVENANCE : Collection particulière, Barcelone BIBLIOGRAPHIE : Pierrette Gargallo-Augera, Catalogue Raisonné de Pablo Gargollo, Editions de l'Amateur, Paris, 1998, reproduite numéro 108, page 133 PABLO GARGALLO (1881-1934) DORMEUSE, 1924 Épreuve en bronze à patine brune Inscrit "P. Gargallo et datée 1924" Cette épreuve fait partie d'une édition de 9 exemplaires sans numéro. Il existe sept autres exemplaires numérotés de 1/7 à 7/7 et trois épreuves d'artistes numérotées EA 1/3 à 3/3. HAUTEUR : 14.5 CM
Pablo Gargallo (1881-1934) Femme assise, 1938 Inscrit "P Gargallo"Bronze cast with brown patina; foundry stamp Coubertin; numbered EA 3/3 ; inscribed "P Gargallo" height : 28 3/8 in. €60,000-80,000 PROVENANCE : Pierrette Gargallo-Anguera Collection particulière, Barcelone BIBLIOGRAPHIE : L'œuvre complète de Pablo Gargallo, P. Courthion, Editions du XXe siècle, 1973, référencée sous le numéro 156b, page 160, reproguit page 159 Pablo Gargallo, catalogue raisonné, Pierrette Gargallo-Anguera, Les éditions de l'Amateur, 1998, référencée sous le numéro 200 a, page 212 PABLO GARGALLO (1881-1934) FEMME ASSISE, 1938 Épreuve en bronze à patine brune Cachet de fondeur Coubertin Numérotée EA 3/3 HAUTEUR : 72 CM
PABLO GARGALLO Y EDUARD AUSIÓ. MEDALLA en plata, para el VIII Congreso Algodonero, Mayo, 1911, Barcelona. Anverso realizado por Pablo Gargallo, con decoración de figura femenina y silueta de Barcelonam firmada. Reverso realizado por Eduard Ausió, decorado con ramo de flores de algodón y firmado. Pieza catalogada y registrada con número 310476-000, en el Museu Nacional d'Art de Catalunya.
Pablo Gargallo Maella 1881 - Reus 1934 Sketches Two charcoal and pastel drawings on both sides of paper El Museo Paul Gargallo de Zaragoza conserva dibujos similares, realizados circa 1896-1898, a veces también aprovechando las dos caras de un mismo papel. Bibliografía de referencia: R. Ordóñez Fernández, "Museo Paul Gargallo", Zaragoza, Ayuntamiento de Zaragoza-Electa, 1994, p. 234-256 19x13 cm Pablo Gargallo Maella 1881 - Reus 1934 Apuntes Dos dibujos al carboncillo y pastel sobre papel por las dos caras El Museo Pablo Gargallo de Zaragoza conserva dibujos similares, realizados hacia 1896-1898, a veces también aprovechando las dos caras de un mismo papel. Bibliografía de referencia: R. Ordóñez Fernández, "Museo Pablo Gargallo", Zaragoza, Ayuntamiento de Zaragoza-Electa, 1994, p. 234-256 19x13 cm
