Manolo (1872) Paintings & Artwork for Sale | Manolo (1872) Art Value Price Guide

Dec. 17, 2024
MANOLO HUGUÉ Barcelona 1872-1945 The picador Relieve in
Est: -
MANOLO HUGUÉ Barcelona 1872-1945 The picador Relieve in patinated bronze with madera support Signed Medidas 29 x 24 cm
Subastas Segre
Dec. 17, 2024
MANOLO HUGUÉ Barcelona 1872-1945 Bullfighting Watercolo
Est: -
MANOLO HUGUÉ Barcelona 1872-1945 Bullfighting Watercolor and charcoal on paper Signed Measurements 30 x 20 cm
Subastas Segre
Dec. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfighter", ca. 1930. Bronze.
Est: €3,500 - €4,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfighter", ca. 1930. Bronze. Measurements: 32 x 15 x 10 cm. Manolo Hugué renewed the costumbrista genre with bullfighters, maternities, old women and gypsies that transcend the folklorist stamp. In this imposing representation of a bullfighter, he endows him with a powerful posture of anticipation and suspense, as the artist has skillfully captured this moment of final tension just before the fight. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's fauvism and cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Nov. 29, 2024
Manuel Martinez Hugué, dit MANOLO (1872 - 1945) Homme aux castagnettes, 1930
Est: €1,000 - €1,500
Manuel Martinez Hugué, dit MANOLO (1872 - 1945) Homme aux castagnettes, 1930 Broche Épreuve en argent H. 3,2 ; L. 6,7 cm Provenance Barcelone, collection particulière Bibliographie : Montserrat Blanch, Montserrat, Manolo, Sculptures, Peintures, Dessins, Éditions Cercle d’Art, Paris, 1974, n°292, p.151 (épreuve du musée Thermalia, Caldes de Montbui) À ce jour, deux autres épreuves en argent sont connues : - Caldes de Montbuy, musée Thermalia, collection Mas Manolo - Barcelone, Musée national d’art de la Catalogne. Le Musée national d’art de la Catalogne conserve d’autres broches de l’artiste similaires dans la composition. (Vénus devant son miroir, Femme jouant de la harpe, Buste d’homme.) Les sculpteurs espagnols Julio Gonzalez, Pablo Gargallo, Francisco Durrio, et Manolo Hugué, sont très actifs au début du XXe siècle dans la confection de bijoux à Paris. Leur esthétique est fortement marquée par l’Art Nouveau puis l’Art Déco. À partir des années 1910, la création de bijoux se fait plus rare chez Manolo. Puis, il reprend cette activité autour des années 30, pour offrir ses créations à sa femme Totote ou à sa fille adoptive, Rosa.
Crait-Muller
Nov. 29, 2024
Manuel Martinez Hugué, dit MANOLO (1872 - 1945) Femme embrassant, 1924
Est: €800 - €1,000
Manuel Martinez Hugué, dit MANOLO (1872 - 1945) Femme embrassant, 1924 Anneau de foulard (porté par Manolo) Épreuve en argent H. 2,5 cm ; D. 2,5 cm Provenance : Barcelone, collection particulière Bibliographie : Montserrat Blanch, Manolo, Sculptures, Peintures, Dessins, Éditions Cercle d’Art, Paris, 1974, n°298, p.152 (épreuve du musée Thermalia, Caldes de Montbui). À ce jour, deux autres épreuves en argent sont connues : - Caldes de Montbuy, musée Thermalia, collection Mas Manolo - Barcelone, Musée national d’art de la Catalogne Les sculpteurs espagnols Julio Gonzalez, Pablo Gargallo, Francisco Durrio, et Manolo Hugué, sont très actifs au début du XXe siècle dans la confection de bijoux à Paris. Leur esthétique est fortement marquée par l’Art Nouveau puis l’Art Déco. À partir des années 1910, la création de bijoux se fait plus rare chez Manolo. Puis, il reprend cette activité autour des années 30, pour offrir ses créations à sa femme Totote ou à sa fille adoptive, Rosa.
Crait-Muller
Nov. 29, 2024
Manuel Martinez Hugué, dit MANOLO (1872 – 1945) Femme accroupie, 1930
Est: €1,500 - €2,000
Manuel Martinez Hugué, dit MANOLO (1872 – 1945) Femme accroupie, 1930 Plaquette Épreuve en bronze Étiquette (au dos) : Galerie louise leiris / 29 bis, Rue d’Astorg / Paris (VIIIe) / 1930 / N°illisible / Manolo / Femme accroupie / 6x6 / (8 épr) D. 6 cm Provenance : Paris, galerie Louise Leiris France, collection particulière Bibliographie : Montserrat Blanch, Manolo, Sculptures, Peintures, Dessins, Éditions Cercle d’Art, Paris, 1974, n°285, p.150. La plaquette ici présentée était certainement destinée à une boucle de ceinture. Créée à Caldes de Montbuy, elle est éditée par Daniel-Henry Kahnweiler : Manolo était lié par un contrat avec ce marchand entre 1912 et 1933. Les sculpteurs espagnols Julio Gonzalez, Pablo Gargallo, Francisco Durrio, et Manolo Hugué, sont très actifs au début du XXe siècle dans la confection de bijoux à Paris. Leur esthétique est fortement marquée par l’Art Nouveau puis l’Art Déco. À partir des années 1910, la création de bijoux se fait plus rare chez Manolo. Puis, il reprend cette activité autour des années 30, pour offrir ses créations à sa femme Totote ou à sa fille adoptive, Rosa.
Crait-Muller
Nov. 28, 2024
MANOLO HUGUÉ (1872-1945). "IN THE BULLRING".
Est: €1,400 - €2,500
Watercolour, charcoal and gouache on paper. Signed. The signature is partially hidden by the passe-partout. Literature: BLANCH, Montserrat. "MANOLO", fig. no. 1283. 20.5 x 24.5 cm; 37 x 42 cm (frame). This lot will not be included in our post auction sale.
Subarna Subastas
Nov. 28, 2024
MANOLO HUGUÉ (1872-1945). Brooch ‘Girl playing the harp'. 1934-1941.
Est: €3,900 - €5,000
18kt yellow gold. Convertible into a pendant. 47 x 67 mm Weight: 49 gr. Reference literature: José Pla, "Vida de Manolo", Barcelona, Destino, 1947, pp. 232-233; Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, pp. 149 and 152, cat. no. 294; "Manolo Hugué", Barcelona, Fundació Caixa de Catalunya-Ajuntament de Barcelona, 1990, p. 154, cat. no. 113, and p. 213; "Joyas de artista. Del modernismo a la vanguardia’, Barcelona, MNAC, 2010, p. 194, cat. no. 202. MANOLO HUGUÉ (1872-1945) was a major figure of 19th-century art (Noucentisme). He was best known as a sculptor, but he was a multifaceted artist who also worked in painting and design, including jewellery, one of his most mysterious facets. This versatility is reminiscent of other sculptors of the previous generation, such as Ismael Smith or Paco Durrio, with whom he shared certain stylistic traits, in his case enhanced by his fondness for primitivism and the weight of Cubism within the universe of the avant-garde. Thus, his jewellery is reminiscent of his sculptural production, with enigmatic figures of great volumetric force. In the case of these jewels, the main references in public collections are the MNAC in Barcelona and Museu Thermalia in Caldes de Montbui, the latter being without doubt the institution that holds the most important collection of this sculptor's work. Therefore, the different lots offered by SUBARNA are a unique opportunity to appreciate Manolo's art as a jeweller, given his quality. This is the largest volume ever offered of this kind of creations in a single auction; but above all, because of the exceptional nature of the material used, gold, as opposed to the models kept in other museums (in silver).
Subarna Subastas
Nov. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "San Francisco", 1931-35. Terracotta. Signed. Published in the book "Manolo" by Montserrat Blanch.
Est: €1,000 - €1,200
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "San Francisco", 1931-35. Terracotta. Signed. Published in the book "Manolo" by Montserrat Blanch. Measurements: 32 x 10 x 15 cm. Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Nov. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Dancer", 1941. Patinated bronze. Marble base. Signed and dated on the base. With Bechini Foundry stamp on the side base. With Dau Al Set label on the base.
Est: €4,000 - €5,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Dancer", 1941. Patinated bronze. Marble base. Signed and dated on the base. With Bechini Foundry stamp on the side base. With Dau Al Set label on the base. Measurements: 38 x 11 x 15 cm (figure); 3 x 11,5 x 11,5 cm (base). What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves. This was written by the French philosopher Henri Bergson, and this same principle is materialized in Manolo Hugué's sculptures, as in the case of this dancer whose posture translates the power of flamenco dance. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Nov. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "La Llovera (old Catalan)", ca. 1910. Patinated bronze. Edition 4/1. Unsigned. With stamp of the Godard Foundry.
Est: €3,000 - €4,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "La Llovera (old Catalan)", ca. 1910. Patinated bronze. Edition 4/1. Unsigned. With stamp of the Godard Foundry. Measurements: 30 x 11 x 10 cm (figure); 2 x 15 x 13 cm (base). Manolo Hugué renewed the costumbrista genre with maternities, old women and gypsies that transcend the folklorist stamp. Here, the figure transmits an emotional existential withdrawal, awakening empathy. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's fauvism and cubism. Works by Hugué are preserved in the Museum of Contemporary Art of Barcelona, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the National Museum Reina Sofia Art Center, among many others.
Setdart Auction House
Oct. 23, 2024
MANOLO HUGUÉ. His circle. Bullfighter.
Est: €300 - €350
Terracotta bas-relief. 43x18.5 cm.
Balclis
Oct. 15, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo. Sculpture, painting and drawing
Est: €2,200 - €2,500
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo. Sculpture, painting and drawing", Montserrat Blanch, nº197, page 114. Provenance: Jacky J. Druker Collection, friend and patron of Joan Brotat. Measurements: 34 x 34 x 3 cm; 6 cm (base height). In the catalog raisonné on Manolo Hugué written by Montserrat Blanch several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose theme are oxen (generally represented in pairs), of which the piece in question is part. It is a production made between 1917 and 1923, years in which the sculptor breathes new thematic and formal suggestions into terracotta. Back in Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a sum of strategies to escape from all stagnation and renew the sculptural language without ceasing to dialogue with the classics. In this relief, a serene energy palpitates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox flex to adapt to the angle, seeking a certain conceptual tension between the volumes and their enclosure in a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Sep. 17, 2024
MANOLO HUGUÉ - Woman
Est: -
MANOLO HUGUÉ Barcelona 1872-1945 Woman Patinated bronze Signed Measurements 25 cm (height)
Subastas Segre
Sep. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullring". Watercolor on paper.
Est: €1,500 - €1,600
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullring". Watercolor on paper. Measurements: 17 x 23 cm; 45 x 50 cm (frame). What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves. This was written by the French philosopher Henri Bergson, and this same principle is materialized by these bullfighters of Manolo Hugué, whose postures translate the dense tension of the instant in the ring. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Jul. 15, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Peeling corncobs", 1912. Pencil drawing on paper. Without signature. With label of the Galerie Louise Leiris and Galerie Simon on the back.
Est: €500 - €600
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Peeling corncobs", 1912. Pencil drawing on paper. Without signature. With label of the Galerie Louise Leiris and Galerie Simon on the back. Measurements: 26 x 35 cm; 46 x 39 cm (frame). Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Jul. 11, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullring". Watercolor on paper.
Est: €1,500 - €1,600
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullring". Watercolor on paper. Measurements: 17 x 23 cm; 45 x 50 cm (frame). What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves. This was written by the French philosopher Henri Bergson, and this same principle is materialized by these bullfighters of Manolo Hugué, whose postures translate the dense tension of the instant in the ring. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Jul. 11, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo.
Est: €2,200 - €2,500
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo. Sculpture, painting and drawing", Montserrat Blanch, nº197, page 114. Provenance: Jacky J. Druker Collection, friend and patron of Joan Brotat. Measurements: 34 x 34 x 3 cm; 6 cm (base height). In the catalog raisonné on Manolo Hugué written by Montserrat Blanch several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose theme are oxen (generally represented in pairs), of which the piece in question is part. It is a production made between 1917 and 1923, years in which the sculptor breathes new thematic and formal suggestions into terracotta. Back in Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a sum of strategies to escape from all stagnation and renew the sculptural language without ceasing to dialogue with the classics. In this relief, a serene energy palpitates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox flex to adapt to the angle, seeking a certain conceptual tension between the volumes and their enclosure in a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Jun. 11, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner. Work catalogued
Est: €4,000 - €5,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner. Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 62, nº93 (stone copy). Measurements: 38 x 38 x 5 cm. In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It was produced between 1917 and 1923, a period in which the sculptor gave new thematic and formal suggestions to terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House
Jun. 11, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfighter. Sculpture in patinated bronze. Signed on the base. Marble base, with slight flaking. With label of the gallery Dau Al Set on the back.
Est: €2,400 - €3,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfighter. Sculpture in patinated bronze. Signed on the base. Marble base, with slight flaking. With label of the gallery Dau Al Set on the back. Measurements: 30 x 10 x 9,5 cm.; 20 cm. height pedestal. Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Jun. 07, 2024
Manuel Martínez Hugué dit Manolo (1872-1945) Les deux toreros Modèle créé en 1922
Est: €2,000 - €3,000
Manuel Martínez Hugué dit Manolo (1872-1945) Les deux toreros Modèle créé en 1922 Bronze à patine brun clair Porte le cachet du fondeur " CIRE PERDUE C. VALSUANI " H. 25 cm x L. 27 cm Après une enfance difficile à Cuba puis à Barcelone, Manuel Martínez Hugué dit Manolo travaille à la fin du XIXe siècle à la fonderie Masriera où il rencontre de nombreux sculpteurs. En 1901, il fait le voyage à Paris où il se lie d’amitié avec les artistes de Montmartre et de Montparnasse. Travailleur acharné, il fréquente assidument le Louvre. En 1910, il obtient un contrat avec le célèbre marchand Daniel-Henry Kahnweiler et part s’installer à Céret dans les Pyrénées orientales. Il fréquente Pablo Picasso, Pablo Gargallo, Marc Chagall ou encore Henri Matisse. Si son art est marqué par la fréquentation des artistes avant-gardistes du début du XXe siècle, il reste fidèle à la figuration. Ses œuvres sont conservées dans les plus grands musées, on peut citer le Centre Pompidou à Paris, le Museum of Modern Art à New York et le Musée d’art contemporain de Barcelone. Oeuvre en rapport: Manuel Manolo, Les deux toreros, 1922, bas-relief en terre cuite, 26 x 28, Amsterdam, Stedelijk museum, inv. BA 63. Littérature en rapport : Blanch Montserrat, Manolo : sculptures, peintures, dessins, Paris, Éditions Cercle d’art, 1974, modèle en terre cuite répertorié sous le n° 90, p. 62.
Crait-Muller
May. 23, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable". Relief in bronze.
Est: €2,500 - €2,800
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable". Relief in bronze. The terracotta version has been published in the catalog of the exhibition "Manolo Hugué" of 1990, in the Museum of Modern Art of the Ciutadella of Barcelona, page 209. Measurements: 33 x 33 x 3 cm. In the catalog raisonné on Manolo Hugué, written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question is part. It is a production made between 1917 and 1923, years in which the sculptor breathes new thematic and formal suggestions into terracotta. Back in Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a sum of strategies to escape from all stagnation and renew the sculptural language without ceasing to dialogue with the classics. In this relief, a serene energy palpitates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox flex to adapt to the angle, seeking a certain conceptual tension between the volumes and their enclosure in a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
May. 23, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Study of characters". Pencil on paper. Signed in the lower right corner.
Est: €1,800 - €2,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Study of characters". Pencil on paper. Signed in the lower right corner. Work referenced in Montserrat Blanc, page 27. Presents on the back labels of the Joan Prats Gallery and Francesc Mestre. Measurements: 22 x 17 cm; 40 x 34 cm (frame). Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
May. 14, 2024
MANOLO HUGUÉ
Est: €1,000 - €1,200
Manolo Hugué (Barcelona, 1872-Caldas de Montbui, Barcelona, 1945) Dos jóvenes de espaldas. Relieve en terracota. Firmado. Realizado c.1929. Apoya sobre plafón en madera. Bibliografía. Reproducido en el libro: "Manolo", por Montserrat Blanch. Pág.: 245. Nº 499. Ediciones Polígrafa. Barcelona, 1972. 34 x 25 x 5 cm.
Aletheia Subastas
May. 04, 2024
Manolo (1872 Barcelona - Caldes de Montbui 1945)
Est: €100 - €200
Näherin. 1931. Tusche auf Papier. Passepartout-Ausschnitt: 47 x 34 cm. Unter Passepartout und Glas gerahmt: 64,3 x 51,5 cm.
AaG Auktionshaus am Grunewald
Apr. 25, 2024
Mujer sentada
Est: -
Firmada H. Hugue.
Isbilya Subastas
Apr. 23, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base.
Est: €2,200 - €2,500
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable", 1935-1936. Relief in terracotta on wooden base. Work cataloged in the book "Manolo. Sculpture, painting and drawing", Montserrat Blanch, nº197, page 114. Provenance: Jacky J. Druker Collection, friend and patron of Joan Brotat. Measurements: 34 x 34 x 3 cm; 6 cm (base height). In the catalog raisonné on Manolo Hugué written by Montserrat Blanch several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose theme are oxen (generally represented in pairs), of which the piece in question is part. It is a production made between 1917 and 1923, years in which the sculptor breathes new thematic and formal suggestions into terracotta. Back in Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a sum of strategies to escape from all stagnation and renew the sculptural language without ceasing to dialogue with the classics. In this relief, a serene energy palpitates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox flex to adapt to the angle, seeking a certain conceptual tension between the volumes and their enclosure in a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Apr. 11, 2024
MANOLO HUGUÉ (1872-1945). "MATERNITY".
Est: €700 - €2,500
Patinated bronze on marble base. Signed. Foundry stamp G. Bechini 28.5 x 13 x 15 cm
Subarna Subastas
Mar. 19, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Woman seated". Bronze. Signed.
Est: €200 - €300
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Woman seated". Bronze. Signed. Measurements: 18 x 9 x 9 cm. Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins.
Setdart Auction House
Mar. 18, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). Untitled. Oil on paper. It presents damages in the pictorial surface and in the frame. Signed in the lower right corner.
Est: €300 - €400
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). Untitled. Oil on paper. It presents damages in the pictorial surface and in the frame. Signed in the lower right corner. Measurements. 17 x 14 cm; 36 x 29 cm (frame). Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Mar. 14, 2024
After MANOLO HUGUÉ (Barcelona, 1872 - Caldes de Montbui, 1945) "Female nude"
Est: €2,000 - €2,500
After MANOLO HUGUÉ (Barcelona, 1872 - Caldes de Montbui, 1945) "Female nude" Patinated bronze sculpture on marble base 18 cm 2.000 - 2.500 €
Bayeu Subastas
Mar. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldes de Montbui, Barcelona, 1945). "Woman standing", ca.1919. Bronze. Signed on the base. Published (terracotta version) in the book "Manolo" by Montserrat Blanch, pg 243, n.437.
Est: €1,900 - €2,400
MANOLO HUGUÉ (Barcelona, 1872 - Caldes de Montbui, Barcelona, 1945). "Woman standing", ca.1919. Bronze. Signed on the base. Published (terracotta version) in the book "Manolo" by Montserrat Blanch, pg 243, n.437. Measurements: 18,5 x 7 x 6 cm. Woman tying up her hair, a sculpture of rounded limbs and a canon of beauty far removed from academic and classical postulates, aspects which characterised Hugué's work. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. His artistic production combines Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde, which he assimilated and got to know at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House
Mar. 12, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfight. 1943. Watercolor on paper. Signed and dated in the lower right corner.
Est: €1,800 - €2,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullfight. 1943. Watercolor on paper. Signed and dated in the lower right corner. Measurements. 17 x 23 cm; 45 x 50 cm (frame). Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's fauvism and cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Mar. 02, 2024
Manolo (1872-1945) "Mother and Child" 1929, terracotta half relief, painted white, 3/10, 28.5x21cm (w.R. 41x32cm), with original invoice from 1975, Galerie Louise Leris/Paris, slightly stained
Est: -
Manolo (1872-1945) "Mother and Child" 1929, terracotta half relief, painted white, 3/10, 28.5x21cm (w.R. 41x32cm), with original invoice from 1975, Galerie Louise Leris/Paris, slightly stained Manolo (1872-1945) "Mutter und Kind" 1929, Terracotta Halbrelief, weiß gefasst, 3/10, 28,5x21cm (m.R. 41x32cm), mit Original Rechnung von 1975, Galerie Louise Leris/ Paris, leicht fleckig
Kendzia
Feb. 19, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Maternity". Terracotta. Signed on the base. Bronze version (from 1935), published in "Manolo", by Montserrat Blanch, p. 112.
Est: €2,000 - €2,500
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Maternity". Terracotta. Signed on the base. Bronze version (from 1935), published in "Manolo", by Montserrat Blanch, p. 112. Measurements: 27 x 11 x 16 cm. With this type of maternity, Manolo Hugué renewed the costumbrista genre with pieces that transcend the folklorist stamp. He trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.
Setdart Auction House
Feb. 19, 2024
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner.
Est: €4,000 - €5,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner. Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 62, nº93 (stone copy). Measurements: 38 x 38 x 5 cm. In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It was produced between 1917 and 1923, a period in which the sculptor gave new thematic and formal suggestions to terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House
Feb. 15, 2024
MANOLO HUGUÉ (1872-1945). "IN THE BULLRING".
Est: €1,800 - €2,500
Watercolour, charcoal and gouache on paper. Signed. The signature is partially hidden by the passe-partout. Literature: BLANCH, Montserrat. "MANOLO", fig. no. 1283. 20.5 x 24.5 cm; 37 x 42 cm (frame). This lot will not be included in our post auction sale.
Subarna Subastas
Feb. 15, 2024
MANOLO HUGUÉ (1872-1945). “MEN'S ACADEMY”.
Est: €650 - €1,200
Ink on paper. Signed in pencil. Literature: BLANCH, Montserrat. "MANOLO", fig. no. 1167. Adhered to poster board. 18.9 x 14.9 cm (unframed). This lot will not be included in our post auction sale.
Subarna Subastas
Feb. 15, 2024
MANOLO HUGUÉ (1872-1945). "FEMALE FIGURE SEATED".
Est: €750 - €1,300
Coloured crayons on paper. Signed in pencil. Literature: BLANCH, Montserrat. "MANOLO", fig. no. 1191. On the reverse it still has part of the cardboard sheet to which it was attached on the corners. 20.8 x 15.6 cm (without frame). This lot will not be included in our post auction sale.
Subarna Subastas
Feb. 15, 2024
MANOLO HUGUÉ (1872-1945). "CHULA".
Est: €700 - €3,500
Patinated bronze on marble base. Unsigned. Foundry stamp G. Buchini 26.5 x 12 x 8 cm
Subarna Subastas
Jan. 23, 2024
MANOLO HUGUe Barcelona (1872) / Caldas de Montbuy, B (1945) "Blacksmiths"
Est: €1,350 - €1,800
Bronze relief on a wooden base Signed "Manolo" in the lower right corner. Measurements: 28 x 26.5 x 14 cm, total
Ansorena
Dec. 18, 2023
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable. 1917 Relief in bronze on marble base. Signed and dated in the lower right-hand corner
Est: €4,000 - €5,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable. 1917 Relief in bronze on marble base. Signed and dated in the lower right-hand corner. With inscription of the Foneria Artística Ginfer. This work in other materials is catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 62, nº94 (terracotta copy). Measurements: 40 x 41 x 4 cm (relief); 3.5 x 46 x 11 cm (base). In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It is a production made between 1917 and 1923, a period when the sculptor was breathing new thematic and formal suggestions into terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House
Dec. 18, 2023
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Portrait", ca.1940. Bronze. Signed on the lower right side.
Est: €2,000 - €2,500
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Portrait", ca.1940. Bronze. Signed on the lower right side. Size: 32 x 17 x 21 cm. One of the aspects that Montserrat Blanch, art historian and specialist in the work of Manolo Hugué, highlights as defining the period in which the sculptor lived in Caldes de Montbui (1927-1945) is his attention to the portrait genre. Focusing only on the head, and therefore on pure expression, he succeeded in making the volumetric form the repository of special emotional energy. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House
Dec. 08, 2023
Manuel Martínez Hugué dit Manolo (1872-1945) Les deux toreros
Est: €2,500 - €3,000
Manuel Martínez Hugué dit Manolo (1872-1945) Les deux toreros Modèle créé en 1922 Bronze à patine brun clair Porte le cachet du fondeur “CIRE PERDUE C. VALSUANI ” H. 25 cm x L. 27 cm Après une enfance difficile à Cuba puis à Barcelone, Manuel Martínez Hugué dit Manolo travaille à la fin du XIXe siècle à la fonderie Masriera où il rencontre de nombreux sculpteurs. En 1901, il fait le voyage à Paris où il se lie d’amitié avec les artistes de Montmartre et de Montparnasse. Travailleur acharné, il fréquente assidument le Louvre. En 1910, il obtient un contrat avec le célèbre marchand Daniel-Henry Kahnweiler et part s’installer à Céret dans les Pyrénées orientales. Il fréquente Pablo Picasso, Pablo Gargallo, Marc Chagall ou encore Henri Matisse. Si son art est marqué par la fréquentation des artistes avant-gardistes du début du XXe siècle, il reste fidèle à la figuration. Ses œuvres sont conservées dans les plus grands musées, on peut citer le Centre Pompidou à Paris, le Museum of Modern Art à New York et le musée d’art contemporain de Barcelone. Oeuvre en rapport: -Manuel Manolo, Les deux toreros, 1922, bas-relief en terre cuite, 26 x 28, Amsterdam, Stedelijk museum, inv. BA 63. Littérature en rapport : -Blanch Montserrat, Manolo : sculptures, peintures, dessins, Paris, Éditions Cercle d’art, 1974, modèle en terre cuite répertorié sous le n° 90, p. 62.
Crait-Muller
Nov. 30, 2023
MANOLO HUGUÉ (1872-1945). "MATERNITY".
Est: €1,200 - €2,500
Patinated bronze on marble base. Signed. Foundry stamp G. Bechini 28.5 x 13 x 15 cm
Subarna Subastas
Nov. 30, 2023
MANOLO HUGUÉ (1872-1945). "CHULA".
Est: €1,200 - €3,500
Patinated bronze on marble base. Unsigned. Foundry stamp G. Buchini 26.5 x 12 x 8 cm
Subarna Subastas
Nov. 29, 2023
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Blacksmiths", 1932. Bronze. Signed in the lower right corner. Wooden base.
Est: €3,000 - €4,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Blacksmiths", 1932. Bronze. Signed in the lower right corner. Wooden base. The plaster copy of this bronze is catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p.101, nº 162. Measurements: 22 x 23 x 2 cm. (bronze); 5 x 28.5 x 6 cm.(base). At the beginning of the thirties, the cubist and constructivist tendencies were beginning to lose strength in the development of modern sculpture, which allowed each artist to explore his personal experiences, opening up new, more personal paths, without external interference. This is an aspect that can be felt in Hugué's mature work. The bas-relief "Blacksmiths" is endowed with subtle movement, as if the interplay of turned shoulders and arms were rolling over each other like a wave. The material is transfigured from within. The minimal gesture reverberates like an infinite echo, procuring sensations irreducible to discourse. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House
Nov. 29, 2023
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner.
Est: €4,000 - €5,000
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen".1917. Ceiling in terracotta. Signed and dated in the lower right corner. Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 62, nº93 (stone copy). Measurements: 38 x 38 x 5 cm. In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It was produced between 1917 and 1923, a period in which the sculptor gave new thematic and formal suggestions to terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Setdart Auction House