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 CATALÁN (Maella, Zaragoza, 1881 – Reus, Tarragona, 1934). “Small Maternity,” 1916. Bronze relief on a travertine marble base, edition 7/7. Alexis Rudier, Fondeur, Paris. Signed and numbered. Work published in “Pablo Gargallo. Catalogue Raisonné,” by Pierrette Gargallo-Anguera, Ed. Les Éditions de l’Amateur, 1998, Paris. Measurements: 13 x 8.5 cm; 22.5 x 14 cm (with base). Throughout his life, Gargallo developed two seemingly opposing styles in parallel: one with classical roots, related first to Modernism and later to Noucentisme, and another avant-garde style that experiments with the disintegration of space. Nevertheless, both share 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 presented here, one can appreciate the same taste for fluid planes, the emphasis on voids and solids, and the fragment over the whole, as seen in paradigmatic works from his avant-garde output, such as “The Prophet” (1933). Thus, in this “Torso of an Adolescent,” the volume is not simply modeled but acquires its own identity thanks to the sinuous profile, the void that surrounds it, and the missing fragments that demand the viewer’s active participation. As in his iconic masks, here Gargallo sculpts the void, while maintaining the mass in the spirit of classical, archaic, and timeless idealization. In fact, that sculpture—which ultimately becomes a drawing in the air, such as “Greta Garbo with Eyelashes” (1930)—represents the reduction to essence or refinement of this other, more traditional-looking statuary, and one cannot be conceived without the other. In fact, we can see works that are exactly symmetrical in terms of volume and that represent both styles, such as “Silhouette of a Young Woman” and “Boy on the Beach,” both created in 1934. Pablo Gargallo is considered the pioneer of iron sculpture, and he learned the technique of blacksmithing 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 studio of the sculptor Eusebio Arnau and at the Escuela de La Lonja, with Venancio Vallmitjana as his primary teacher. During this period of Modernism’s heyday in Barcelona, Gargallo frequented the gatherings at “Els quatre Gats,” forming relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernism, as seen in the decoration of Barcelona buildings he created in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo and the Palau de la Música. In 1903, Gargallo received 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—he made frequent trips there. In Paris, he encountered the aesthetic principles of Cubism, assimilated its expressive techniques, and sought the schematization and essentiality of figures and objects, striving to find the authentic three-dimensional expression of Cubist principles. Around this time, he began using metallic materials such as sheet metal, copper, and iron. Around 1911–12, he created his first masks—highly simplified pieces made from cut-out sheet metal, rooted in the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and highlight the voids through the penetration of light into the interior spaces. In 1920, he was appointed professor of sculpture at the Technical School of Artistic Crafts of the Mancomunidad de Cataluña, a position from which he was dismissed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this point on, his style took on a highly personal dimension, derived from his interpretation of Cubism, which was based on the search for a formal synthesis of the figure in ever-fluid geometric planes; he replaced conventional materials with sheets of wrought iron, and he pioneered a new sculptural language by incorporating negative space as a form and endowing his figures with great expressive drama. Pablo Gargallo’s work is currently represented at the museum that bears his name in Zaragoza, the MoMA in New York, the MACBA in Barcelona, the Museum of Modern Art in Paris, and the Reina Sofía in Madrid, among many others.
PABLO GARGALLO (Maella 1881-Reus 1934) "Little Leafless Lapwing" (1932) Bronze On a black veined marble base Signed Dimensions: 17.4 × 19.5 × 9 cm. This work, conceived in 1932, is an unnumbered first casting made during the artist's lifetime and is accompanied by a unique certificate of authenticity signed by Camille Anguera, the artist's great-granddaughter, dated June 9, 2024. Historical provenance: - Paco Rebes Gallery, "Pablo Gargallo", Barcelona 1987 - Private collection Work reproduced in: - Pierre Courthion, "The Complete Works of Pablo Gargallo", Ed. XXe Siècle, Paris 1973, reproduced on p. 150 -Pierrette Gargallo-Anguera, "Pablo Gargallo. Catalogue Raisonné", Ed. Les Éditions de l’Amateur, Paris 1998, no. 194 The works created by Pablo Gargallo during the 1930s, before his early death in 1934, are among the most important and revolutionary creations of 20th-century Spanish sculpture. This period, known as the "iron period," marked a decisive transformation in the artist's language. Thanks to his close relationship with Julio González, Gargallo incorporated welding techniques and developed a new sculptural conception based on emptiness, line, and formal synthesis, anticipating some of the major advances in modern sculpture. Conceived in 1932, Petite bacchante sans feuille (Small Leafless Lapwing) is one of the culminations of this formal exploration and one of the most refined and radical sculptures of Gargallo's later period. The work is part of a series dedicated to the reclining female nude and demonstrates the artist's progressive tendency toward greater abstraction and formal refinement. There is an extraordinary visual balance between the large lower oval void, the compact central core, and the oval void created by the upper contour of the arm. As Arturo Gómez Sánchez noted: “In the development of this piece, from one end to the other, we see how the forms and volumes integrate organically with one another, maintaining and creating a continuity and a rhythm. These volumes speak to us of an inner growth of the form.” This copy is of exceptional importance as it is a rare first casting made during the artist's lifetime (“première fonte du temps de l’artiste”), signed but unnumbered, predating the later numbered edition, as certified by Camille Anguera, the sculptor's great-granddaughter, in the unique certificate of authenticity dated June 9, 2024. The work is registered under number 194 in the definitive catalogue raisonné of Pablo Gargallo compiled by Pierrette Gargallo-Anguera and is also documented in Pierre Courthion's L’Oeuvre complet de Pablo Gargallo.
Sculpture made of patinated bronze. Signed and numbered (2/7) at the bottom. Bibliography: GARGALLO-ANGUERA, Pierrette: Pablo Gargallo Catalog Raininné. Amateur edition. Paris, 1998. Page 199. Cat. No.: 193. Rep. B/W.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Adolescent torso". 1933-1934. White marble. Unique piece in white marble. There are also seven examples in bronze, one in terracotta, two in pink marble (one of them in the Museu de Montserrat) and one in black marble. Signed on the left side. It has slight damage on the base. A bronze copy is kept in the Pablo Gargallo Museum in Zaragoza, inventoried in the Digital Catalog of the Pablo Gargallo Museum. Measurements: 83 x 21 x 24 cm. "Torso Adolescente" is a marble sculpture, belonging to a very small and carefully selected series within the production of Pablo Gargallo. Of this model we know of one example in terracotta, two in pink marble - one preserved in the Museu de Montserrat -, one in white marble and one in black marble, all made by the artist himself, with the collaboration of stitchers in the case of the marble. Each version has individual finishes and nuances, so that, although they share the same formal approach, they should be considered unique pieces, not mere reproductions. 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, experimenting with the disintegration of space. This piece, conceived a year before the author's death, represents the female body in a phase of early youth, underlining the transition between childhood and maturity. The figure, deprived of head and arms, focuses on the adolescent body structure, still contained and without the voluptuous fullness of adulthood. The torso is slender and vertical, with a smooth and barely marked belly, soft hips and firm but not overdeveloped thighs. This formal restraint reinforces the idea of adolescence as an intermediate state, a fragile balance between growth and definition. The slight contraposition of the legs introduces a natural rhythm that brings life to the figure without resorting to expressive gestures. The figure rises frontally, with a slight contraposition of the legs that introduces a soft and natural rhythm, heir to the classical canon. The modeling is sober and refined: the planes of the abdomen, hips and thighs are treated with an economy of detail that avoids the anecdotal to emphasize the essential structure of the body. The marble retains a texture that allows us to perceive the hand of the sculptor and gives the work a restrained and serene physical presence. The absence of head and upper limbs should not be understood as a casual fragment, but as a conscious choice. Gargallo uses the resource of the torso to explore the human form as an autonomous volume, detached from facial expression or narrative gesture. In this way, the figure acquires an almost architectural character, in which the body becomes a vertical, stable and balanced axis. This work is situated in Gargallo's early and transitional period, when his work still dialogues intensely with classical sculpture and modernism, before the radical innovation of his famous sculptures in iron and cut metal. In these pieces in marble or stone, Gargallo demonstrates an academic mastery of modeling and a deep understanding of the classical canon, while he begins to simplify forms and seek a volumetric synthesis that anticipates his later evolution. As a whole, this sculpture constitutes a fundamental testimony of the classic Gargallo sculptor, revealing the technical and conceptual solidity that would underpin, years later, his decisive contribution to modern sculpture. Pablo Gargallo is 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 Mella 1881-Reus 1934 Sketches. c. 1900 Pencil on paper Signed Dimensions 16 x 10.5 cm Back dedicated and signed by Pierette Gargallo in November 1989 EXHIBITIONS 1970 (April 23-June 8), "Pablo Gargallo", Musée Rodin, Paris BIBLIOGRAPHY María José Salazar, "Pablo Gargallo. Catalogue Raisonné of Drawings", Ed. Fundación Marcelino Botín, Santander 2010, no. 156, p. 570
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "La segadora", 1925. Pencil on paper. Signed and dated. Measurements: 20 x 25 cm; 40 x 45 cm (frame). Exhibitions: "Gargallo. Exhibition of the centenary". Barcelona, 1981. Reproduced in the catalog, reference 195. 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 at the La Lonja School, 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 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 Sofia in Madrid, among many others.
PABLO GARGALLO Mella 1881-Reus 1934 Sketches of Men. c. 1900 Pencil on paper Signed Dimensions 16 x 10.5 cm Back dedicated and signed by Pierette Gargallo in November 1989
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Adolescent torso". 1933-1934. White marble. Unique piece in white marble. There are also seven examples in bronze, one in terracotta, two in pink marble (one of them in the Museu de Montserrat) and one in black marble. Signed on the left side. It has slight damage on the base. A bronze copy is kept in the Pablo Gargallo Museum in Zaragoza, inventoried in the Digital Catalog of the Pablo Gargallo Museum. Measurements: 83 x 21 x 24 cm. "Torso Adolescente" is a marble sculpture, belonging to a very small and carefully selected series within the production of Pablo Gargallo. Of this model we know of one example in terracotta, two in pink marble - one preserved in the Museu de Montserrat -, one in white marble and one in black marble, all made by the artist himself, with the collaboration of stitchers in the case of the marble. Each version has individual finishes and nuances, so that, although they share the same formal approach, they should be considered unique pieces, not mere reproductions. 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, experimenting with the disintegration of space. This piece, conceived a year before the author's death, represents the female body in a phase of early youth, underlining the transition between childhood and maturity. The figure, deprived of head and arms, focuses on the adolescent body structure, still contained and without the voluptuous fullness of adulthood. The torso is slender and vertical, with a smooth and barely marked belly, soft hips and firm but not overdeveloped thighs. This formal restraint reinforces the idea of adolescence as an intermediate state, a fragile balance between growth and definition. The slight contraposition of the legs introduces a natural rhythm that brings life to the figure without resorting to expressive gestures. The figure rises frontally, with a slight contraposition of the legs that introduces a soft and natural rhythm, heir to the classical canon. The modeling is sober and refined: the planes of the abdomen, hips and thighs are treated with an economy of detail that avoids the anecdotal to emphasize the essential structure of the body. The marble retains a texture that allows us to perceive the hand of the sculptor and gives the work a restrained and serene physical presence. The absence of head and upper limbs should not be understood as a casual fragment, but as a conscious choice. Gargallo uses the resource of the torso to explore the human form as an autonomous volume, detached from facial expression or narrative gesture. In this way, the figure acquires an almost architectural character, in which the body becomes a vertical, stable and balanced axis. This work is situated in Gargallo's early and transitional period, when his work still dialogues intensely with classical sculpture and modernism, before the radical innovation of his famous sculptures in iron and cut metal. In these pieces in marble or stone, Gargallo demonstrates an academic mastery of modeling and a deep understanding of the classical canon, while he begins to simplify forms and seek a volumetric synthesis that anticipates his later evolution. As a whole, this sculpture constitutes a fundamental testimony of the classic Gargallo sculptor, revealing the technical and conceptual solidity that would underpin, years later, his decisive contribution to modern sculpture. Pablo Gargallo is 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.
Graphite and pastel on paper (front and back) Unsigned. Bibliography: -Maria Jose Salazar, "Pablo Gargallo 1881-1934. Drawings Catalogue Raisonne Volume I", Marcelino Botin Foundation, Santander 2010, no. 39, pp. 200-201 and no. 48 pp. 218-219. . Measurements: each. Measurements: 19 x 12 cm
Pablo Gargallo 1881 - 1934 Masque d'arlequin souriant (2ème version) inscribed P. Gargallo and dated 1927 soldered copper width: 29 cm. 11⅜ in. Executed in 1927. This example is the second version of 5 unique variants.
PABLO GARGALLO (Spanish School, 1881-1934) Art Nouveau mirror in gilded plaster and sculpture "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) BAIGNEUSE (TÊTE BAISSÉE), 1924 Terre cuite Signée et datée Retouches de l'artiste Terracotta; signed and dated HAUT. 62 CM • 24 3/8 IN.
Pablo Gargallo (Spanish, 1881-1934) Attributed, Mother and Child, Pen and Ink on Paper, unsigned, De Vuyst Fine Art and Design, Belgium label to reverse, silvered wood frame. Image: 10" H x 8" W; frame: 16.5" H x 14" W. Provenance: Pierre Berge & Associates, Paris, 25 April 2019, Lot 168. From a Fifth Avenue Collection. Keywords: Drawing, Works on Paper, Ink wash, Figural, Figurative, Nude woman, Study, Sketch, Motherhood, 20th Century Art, Continental School, European Art, Modern Art
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Mother of the artist". Mixed media on paper. Entitled "My mother" in the lower margin. Work referenced in the Catalogue Raisonné "PABLO GARGALLO. Drawings". Volume II, pg. 796, ref. 245. With label of Lp Art. Paris, where the name of the owner (Anguera-Gargallo family) appears. Measurements: 46 x 31 cm; 72 x 52 cm (frame). This is a very special work, as there is hardly any portrait of Pablo Gargallo to his mother. It is, in addition, a drawing that is inserted with coherence in the whole of his artistic trajectory. The gaunt, angular face, with a visible bone structure, refers directly to the way Gargallo sculpted faces: without embellishments, seeking the physical and spiritual truth of the model. The attention to the bony, long-fingered hands is also significant: in Gargallo's sculpture, the hands often have emotional and gestural prominence. Gargallo avoided the superfluous, both in volume and stroke, and that austerity is powerfully conveyed here. The black scarf that frames the face acts almost as a shadow modeling. The use of waxes and ink, the somber colors, the palette reduced to earthy and black tones, is in keeping with the intimate and austere dimension of the human condition, so that in addition to being a maternal portrait, it becomes an effigy of silent dignity. Throughout his life, Gargallo developed in parallel two apparently opposing styles: one of classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experiments with the disintegration of space. Our drawing is clearly inserted in the first group, although both lines of work are ultimately complementary. Both have in common the theme of the human figure, which he endows with enormous dignity. 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. 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.
Graphite and pastel on paper (front and back). Unsigned and with another drawing on the back. Bibliography: -Maria José Salazar "Pablo Gargallo 1881-1934 Drawings Catalogue raisonné Volume I", Marcelino Botín Foundation, Santander 2010, no. 39 (pages 200-201) and no. 48 (pages 218-219) Measurements: 19 x 12 cm each
The Marcel Lehmann-Lefranc Collection Pablo Gargallo 1881 - 1934 Tête d'arlequin (Version I) cut and patinated copper without base: 21 x 31 x 17 cm; 8 ¼ x 12 ¼ x 6 ¾ in. with base: 28 x 30 x 18 cm; 11 x 11 ¾ x 7 ⅛ in. Executed in 1929. This work is accompanied by a certificate of authenticity signed by Pierrette Gargallo. __________________________________________________________ Collection Marcel Lehmann-Lefranc Pablo Gargallo 1881 - 1934 Tête d'arlequin (Version I) cuivre découpé et patiné sans base : 21 x 31 x 17 cm; 8 ¼ x 12 ¼ x 6 ¾ in. avec base : 28 x 30 x 18 cm; 11 x 11 ¾ x 7 ⅛ in. Exécuté en 1929. Cette œuvre est accompagnée d'un certificat d'authenticité signé par Pierrette Gargallo.
PABLO GARGALLO Mella 1881-Reus 1934 Harlequin. (Sketch for sculpture). 1924 Ink, graphite and pen on paper Signed and dated 1924 Dimensions 21 x 18 cm BIBLIOGRAPHY María José Salazar and Jean Anguera Gargallo, "Pablo Gargallo drawings. Catalogue Raisonné", Ed. Marcelino Botín Foundation, Santander 2010, page 791, No. 242
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.
