José Navarro Llorens Paintings & Artwork for Sale | José Navarro Llorens Art Value Price Guide

Jun. 24, 2026
José Navarro Llorens. Moroccan Street
Est: -
Oil on canvas. Signed in the lower right corner.
Duran Arte y Subastas
Jun. 24, 2026
José Navarro Llorens. Coastal Landscape
Est: -
Oil on canvas. Signed in the lower right corner.
Duran Arte y Subastas
Jun. 24, 2026
José Navarro Llorens. Zoco
Est: -
Oil on panel. Signed in the lower right corner.
Duran Arte y Subastas
Jun. 24, 2026
José Navarro Llorens. Return from fishing
Est: -
Oil on canvas. Signed in the lower right corner.
Duran Arte y Subastas
May. 26, 2026
José Navarro Llorens. En el parque
Est: -
Óleo sobre lienzo. Firmado en el ángulo inferior izquierdo.
Duran Arte y Subastas
May. 26, 2026
José Navarro Llorens. En las carreras
Est: -
Acuarela sobre papel. Firmada en el ángulo inferior derecho.
Duran Arte y Subastas
May. 12, 2026
ATTRIBUTED TO JOSÉ NAVARRO LLORENS - Moroccan souk
Est: -
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Moroccan Souk Oil on canvas Signed and dated Dimensions 41.5 x 27.5 cm
Subastas Segre
Apr. 29, 2026
José Navarro LLorens.Pescadoras en playa Valencia
Est: -
Acuarela sobre papel. Firmado en el ángulo inferior derecho.
Duran Arte y Subastas
Apr. 29, 2026
José Navarro LLorens. Niños en playa Valencia
Est: -
Óleo sobre lienzo adherido a cartón. Firmado en el ángulo inferior derecho.
Duran Arte y Subastas
Mar. 18, 2026
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Urban walk". Oil on canvas. Signed.
Est: €7,000 - €9,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Urban walk". Oil on canvas. Signed. Measurements: 29 x 48,5 cm.; 48 x 68 cm.(frame). In this urban scene, Navarro Llorens displays one of his most characteristic compositions, where the interest lies not so much in the episode represented as in the capture of the atmosphere, the light and the movement. The painting depicts a lively promenade at the end of the 19th century, with carriages, horses and elegant figures that are diluted in a vibrant, almost humid atmosphere, built with rapid and impastoed brushstrokes. The artist resorts to a warm and broken palette, with ochers, pinks and grayish blues, which reinforces the sensation of ephemeral life and urban transit. The figures appear barely suggested, subordinated to the whole, in a composition that privileges the immediate visual effect and the fleeting impression, a clear inheritance of his contact with contemporary French painting. Navarro Llorens was one of the Spanish painters who best assimilated French impressionism, after his training in Valencia and his decisive stay in Paris, where he came into contact with modern painting. His work focuses on scenes of contemporary life, parties, walks, gardens and cafes, always with an elegant and luminous look. He is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Setdart Auction House
Feb. 25, 2026
José Navarro Llorens. Families on Valencia beach
Est: -
Oil on canvas. Signed in the center right.
Duran Arte y Subastas
Feb. 25, 2026
Navarro Llorens. Valencian beach scene
Est: -
Oil on canvas. Signed in the lower right corner.
Duran Arte y Subastas
Feb. 25, 2026
José Navarro Llorens (Valencia, 1867-1923), Muleteer on a donkey
Est: €800 - €1,000
Oil on canvas adhered to board, 25 x 18 cm, framed dimensions: 32 x 27 cm
Templum Fine Art Auctions
Jan. 27, 2026
José Navarro Llorens. Boy on the beach
Est: -
Oil on canvas. Signed in the lower right corner.
Duran Arte y Subastas
Jan. 14, 2026
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Urban walk". Oil on canvas. Signed.
Est: €7,000 - €9,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Urban walk". Oil on canvas. Signed. Measurements: 29 x 48,5 cm.; 48 x 68 cm.(frame). In this urban scene, Navarro Llorens displays one of his most characteristic compositions, where the interest lies not so much in the episode represented as in the capture of the atmosphere, the light and the movement. The painting depicts a lively promenade at the end of the 19th century, with carriages, horses and elegant figures that are diluted in a vibrant, almost humid atmosphere, built with rapid and impastoed brushstrokes. The artist resorts to a warm and broken palette, with ochers, pinks and grayish blues, which reinforces the sensation of ephemeral life and urban transit. The figures appear barely suggested, subordinated to the whole, in a composition that privileges the immediate visual effect and the fleeting impression, a clear inheritance of his contact with contemporary French painting. Navarro Llorens was one of the Spanish painters who best assimilated French impressionism, after his training in Valencia and his decisive stay in Paris, where he came into contact with modern painting. His work focuses on scenes of contemporary life, parties, walks, gardens and cafes, always with an elegant and luminous look. He is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Setdart Auction House
Oct. 28, 2025
José Navarro. African Slave
Est: -
Oil on panel. Signed in the lower left corner.
Duran Arte y Subastas
Sep. 09, 2025
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Moroccan market", 1900. Oil on canvas. Signed and dated in the lower left corner.
Est: €25,000 - €28,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Moroccan market", 1900. Oil on canvas. Signed and dated in the lower left corner. Measurements: 70 x 108 cm; 133 x 95 cm (frame). "Moroccan Market" is inscribed within the orientalist luminist trend that attracted several Spanish painters of the late nineteenth and early twentieth century. However, Navarro Llorens avoids an exoticizing or fanciful look to approach the Arab world from an empathetic, almost documentary perspective, without losing his aesthetic sensibility. The painting is a vibrant symphony of light and chromatic warmth, a fragment of the daily bustle of a North African town that combines the costumbrista look with an atmospheric sensitivity inherited from Valencian luminism. In the foreground, under the clear blue sky, the sandy and dusty street unfolds in a fugitive line that leads the eye towards some arcades in the distance. On one side of this main thoroughfare, stores open to the outside are lined up. Special prominence is given to the pottery sellers: male figures, seated in the immediate shade of their houses, surrounded by earthenware jars and pitchers, glazed or unglazed, of different formats and colors. The shadows, brief and defined, contrast with the open luminosity of the street, generating a tension that adds vitality to the whole. In "Moroccan Market", José Navarro Llorens manages to combine the scorching light of the Maghreb midday with the silent dignity of the traditional trades. José Navarro Llorens was very early on his way to painting, and studied at the San Carlos School of Fine Arts in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling in Godella permanently. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but it always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Jul. 22, 2025
José Navarro. African Slave
Est: -
Oil on panel. Signed in the lower left corner.
Duran Arte y Subastas
Jul. 22, 2025
José Navarro LLorens. Girl in the Garden
Est: -
Oil on panel. Signed in the lower right corner.
Duran Arte y Subastas
Jul. 16, 2025
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Street of Morocco". Ink on paper. Signed in the lower right corner.
Est: €300 - €500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Street of Morocco". Ink on paper. Signed in the lower right corner. Measurements: 21 x 30 cm: 45,5 x 62 cm (frame). José Navarro Llorens was directed very early to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling in Godella permanently. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but it always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Jul. 16, 2025
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach scene". Oil on canvas. Signed on the right side.
Est: €2,800 - €3,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach scene". Oil on canvas. Signed on the right side. Measurements: 50 x 60 cm.; 82 x 90 cm. (frame). José Navarro Llorens was directed very early to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling permanently in Godella. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but it always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Jun. 24, 2025
José Navarro Llorens. Valencia Beach
Est: -
Oil on canvas. Signed in the lower right corner.
Duran Arte y Subastas
Jun. 17, 2025
JOSÉ NAVARRO LLORENS, (Valencia, 1867 - 1923). "Shipwreck Threat", 1894. Oil on canvas. Signed in lower left corner.
Est: €14,000 - €16,000
JOSÉ NAVARRO LLORENS, (Valencia, 1867 - 1923). "Shipwreck Threat", 1894. Oil on canvas. Signed in lower left corner. Measurements: 83 x 132 cm, 114 x 160 cm (frame). This spectacular navy of Jose Navarro is a version with small variations of his homonymous canvas conserved in the Museum Carmen Thyssen of Malaga. This painting, larger than ours (175 x 270 cm), was probably the work presented by the Valencian painter at the National Exhibition of 1895, with which he received an honorable mention; in the same contest Joaquín Sorolla won a first medal with "They still say that fish is expensive!", also with a marine theme. In the 1890s, paintings with dramatic themes related to the sea became enormously popular in Spain, thanks to Valencian artists such as Salvador Abril, Javier Juste, José Monleón, the aforementioned Sorolla or Navarro himself; in this sense, the canvas preserved today in Malaga was a huge success, which explains why its author received, as a result of its popularity, several private commissions to replicate, in smaller dimensions, "Amenaza de Naufragio" (Shipwreck Threat). Our landscape is therefore a good example of the notoriety of José Navarro at that time, which illustrates with great technique, mastery of light and detail, the overwhelming atmosphere of the storm. José Navarro Llorens was very early on his way to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling permanently in Godella. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but it was always deeply personal, linked to Navarrete's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Setdart Auction House
May. 14, 2025
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Arab souk". Oil on board. Signed and dedicated "Almost a replica, exceptionally, for my great friend Joaquín Sorolla" in the upper right corner. Measurements: 40 x 70 cm; 57 x 87 cm (frame).
Est: €6,000 - €7,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Arab souk". Oil on board. Signed and dedicated "Almost a replica, exceptionally, for my great friend Joaquín Sorolla" in the upper right corner. Measurements: 40 x 70 cm; 57 x 87 cm (frame). The dedication that appears in the upper right corner of our work is understood to be due to the fact that José Navarro Llorens was a fellow student of Sorolla, who held him in great esteem and admiration. Both studied at the School of Fine Arts of San Carlos in Valencia and became friends. Although he was not a direct disciple of Sorolla, Navarro Llorens was inspired by his style, albeit with a more realistic and costumbrist approach. "Zoco árabe" (Arab Souk) is part of the orientalist luminist trend that attracted several Spanish painters of the late nineteenth and early twentieth centuries. However, Navarro Llorens avoids an exoticizing or fanciful look to approach the Arab world from an empathetic, almost documentary perspective, without losing his aesthetic sensibility. The painting is a vibrant symphony of light and chromatic warmth, a fragment of the daily hustle and bustle of a North African village that combines the costumbrista look with an atmospheric sensitivity inherited from Valencian luminism. In the foreground, the sandy and dusty street unfolds in a fugitive line that leads the eye towards some arcades in the distance. On both sides of this main road, the stores open to the outside are lined up, improvised on the adobe facades. Special prominence is given to the ceramic sellers: male figures, seated in the immediate shade of their houses, surrounded by earthenware jars and pitchers, glazed or unglazed, of different formats and colors. The shadows, brief and defined, contrast with the open luminosity of the street, generating a tension that adds vitality to the whole. Children run through the central space, small whirlwinds of movement that energize the composition. The naturalness of their gestures and their vitality underline the living condition of the souk, moving away from the exotic postcard. In "Arab Souk", José Navarro Llorens manages to combine the scorching light of the Maghreb midday with the silent dignity of the traditional trades.
Setdart Auction House
May. 13, 2025
JOSÉ NAVARRO LLORENS. PAISAJE AFRICANO. ÓLEO SOBRE LIENZO ADHERIDO A CARTÓN.
Est: €1,200 - €1,800
José Navarro Llorens (Godella, Valencia, 1867-Valencia, 1923) Paisaje africano. Óleo sobre lienzo adherido a cartón. Firmado. 16 x 21,5 cm.
Aletheia Subastas
Apr. 25, 2025
José Navarro Llorens. Valencia Beach (1895)
Est: -
Oil on canvas. Signed and dated (95) in the lower right corner.
Duran Arte y Subastas
Mar. 26, 2025
José Navarro Llorens. Cart on the Road (1891)
Est: -
Oil on porcelain plate. Signed and dated (91) in the lower right corner.
Duran Arte y Subastas
Mar. 19, 2025
JOSÉ NAVARRO LLORENS, (Valencia, 1867 - 1923). "Tempest. Oil on canvas. Signed in lower right corner.
Est: €1,400 - €1,600
JOSÉ NAVARRO LLORENS, (Valencia, 1867 - 1923). "Tempest. Oil on canvas. Signed in lower right corner. Measurements: 33 x 54 cm, 57 x 77 cm (frame). José Navarro Llorens was directed very early to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling in Godella permanently. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but it was always deeply personal, linked to Navarrete's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Setdart Auction House
Feb. 25, 2025
José Navarro Llorens. Fishermen by the port
Est: -
Oil on canvas. Signed and dated (92) in the lower right corner.
Duran Arte y Subastas
Feb. 11, 2025
JOSÉ NAVARRO LLORENS. PAISAJE AFRICANO. ÓLEO SOBRE LIENZO ADHERIDO A CARTÓN.
Est: €1,500 - €2,000
José Navarro Llorens (Godella, Valencia, 1867-Valencia, 1923) Paisaje africano. Óleo sobre lienzo adherido a cartón. Firmado. 16 x 21,5 cm.
Aletheia Subastas
Feb. 11, 2025
JOSE NAVARRO LLORENS - Oven in the Albufera
Est: -
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Oven in the Albufera Oil on canvas attached to board Signed Measurements 14.5 x 21.5 cm
Subastas Segre
Dec. 12, 2024
JOSÉ NAVARRO LLORENS(Valencia, 1867 - 1923). "Moroccan old man" . Oil on board. Signed in the upper left corner
Est: €800 - €1,000
JOSÉ NAVARRO LLORENS(Valencia, 1867 - 1923). "Moroccan old man" . Oil on panel. Signed in the upper left corner Measurements: 16 x 13 cm; 34 x 30 cm (frame). José Navarro Llorens was very early on his way to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling in Godella permanently. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but it always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Dec. 12, 2024
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923) "Paris Boulevard". Oil on wood. Signed in the lower right corner.
Est: €6,000 - €7,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Boulevard de Paris". Oil on panel. Signed in the lower right corner. Measurements: 27,5 x 43 cm; 45 x 60 cm (frame). José Navarro Llorens turned to painting at an early age, and studied at the San Carlos School of Fine Arts in his home town. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Nov. 19, 2024
JOSÉ NAVARRO LLORENS. ÓLEO SOBRE LIENZO.
Est: €1,500 - €2,000
José Navarro Llorens (Godella, Valencia, 1867-Valencia, 1923) Paisaje africano. Óleo sobre lienzo adherido a cartón. Firmado. 16 x 21,5 cm.
Aletheia Subastas
Nov. 14, 2024
JOSE NAVARRO LLORENS, (Valencia, 1867 – 1923) - Country scene
Est: €2,000 - €3,000
Oil on panel. Dimensions 40 × 36 cm. Country scene with a young woman feeding a donkey while an older man watches, both enveloped in an atmosphere of vibrant light that accentuates the warm tones and the ease of the brushstrokes. The simplicity of the everyday gesture is complemented by the liveliness of the landscape. José Navarro Llorens, (Valencia, 1867 – 1923). This work reflects the Spanish costumbrismo of the late 19th and early 20th centuries, with a focus on scenes of rural life and the use of bright colors and rapid brushstrokes.
Templum Fine Art Auctions
Oct. 29, 2024
JOSE NAVARRO LLORENS Valencia (1867 / 1923) "Girl with a jug and a donkey"
Est: €2,700 - €3,600
Oil on board Signed on the right side Measurements: 17.5 x 21 cm
Ansorena
Jul. 22, 2024
JOSE NAVARRO LLORENS Valencia (1867 / 1923) "Arab souk", 1900
Est: €6,000 - €8,000
Oil on panel Signed and dated in the lower right corner Measurements: 11 x 16.5 cm
Ansorena
Jul. 15, 2024
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Composition. Watercolor on paper. Signed in the lower right corner.
Est: €200 - €250
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Composition. Watercolor on paper. Signed in the lower right corner. Measurements: 7 x 11,5 cm; 29 x 34 cm (frame). José Navarro Llorens was directed very early to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling permanently in Godella. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Jun. 11, 2024
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Sailing boats", ca.1920. Oil on panel. Signed in the lower right corner.
Est: €2,500 - €3,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Sailing boats", ca.1920. Oil on panel. Signed in the lower right corner. Size: 30 x 40 cm; 57 x 64 cm (frame). Marina set in the park of La Albufera, in which José Navarro displays a palette of brilliant cadences. The sails swollen by the wind and the chromatic touches that glide over the surface of the water place the boat in the heart of a translucent and intoxicating symphony. Sky and water seem to pour into each other, exchanging their reflections. In the distance, a row of small sailboats line the horizon. José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Málaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
May. 23, 2024
JOSE NAVARRO LLORENS (Valencia, 1867 - 1923). "Marina". 1892 Oil on canvas. Restorations visible on the back. Signed and dated in the lower right corner.
Est: €8,000 - €10,000
JOSE NAVARRO LLORENS (Valencia, 1867 - 1923). "Marina". 1892 Oil on canvas. Restorations visible on the back. Signed and dated in the lower right corner. Measurements: 99 x 189 cm; 117 x 205 cm. José Navarro Llorens was directed very soon to the painting, and he studied at the School of Fine Arts of San Carlos, in his native city. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling permanently in Godella. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
May. 21, 2024
JOSÉ NAVARRO LLORENS Valencia (1867 / 1923) "Gypsy family in Valencia"
Est: €6,000 - €8,000
Oil on panel Signed in the lower right corner Measurements: 45 x 55 cm
Ansorena
May. 08, 2024
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). Untitled. Watercolor on paper. Signed in the lower right corner.
Est: €500 - €700
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). Untitled. Watercolor on paper. Signed in the lower right corner. Measurements: 40 x 32 cm; 70 x 62 cm (frame). José Navarro Llorens was directed very soon to the painting, and he studied at the School of Fine Arts of San Carlos, in his native city. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling permanently in Godella. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Feb. 29, 2024
José Navarro Llorens (Valencia, 1867 - 1923) "Stormy Sea"
Est: €2,500 - €3,500
José Navarro Llorens (Valencia, 1867 - 1923) "Stormy Sea" Oil on canvas Signed 70 x 120 cm 2.500 - 3.500 €
Greco Subastas
Nov. 09, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923). “Casetas de playa”. Oil on canvas. Signed in the lower right corner.
Est: €6,000 - €7,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach huts". Oil on canvas. Signed in the lower right corner. Measurements: 15,5 x 21,5 cm; 36 x 41,5 cm (frame). José Navarro Llorens turned very early to painting, and he studied at the School of Fine Arts of San Carlos, in his native town. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Malaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Oct. 10, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923). "On the beach". Oil on table. Signed in the lower left corner.
Est: €10,000 - €12,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "On the Beach". Oil on panel. Signed in the lower left corner. Size: 15 x 24.5 cm; 30.5 x 40 cm (frame). In this work Navarro is close to the main exponents of 19th-century Valencian beach customs painting in Spain, with the greatest representative being Joaquín Sorolla. It is in this context that we find this panel by Navarro, which shows a popular beach full of small scenes and characters that make up a whole full of expressiveness, quality and mastery in Navarro's hand. With a precious, richly nuanced and highly descriptive brushstroke, the painter takes great pleasure in describing the details, particularly the clothes and ornaments, as well as in the narrative, seeking the expressiveness of the central figure's gesture, and without skimping on the secondary details on either side of the scene. José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a glittering career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Málaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Oct. 05, 2023
JOSÉ NAVARRO LLORENS (1867-1923). "ARAB ZOCO".
Est: €4,000 - €10,000
Oil on canvas. Signed. With a precise and colorful brushstroke, the Valencian artist perfectly captures the light and details of the Moroccan Souks, so characteristic of his pictorial production, the subject matter clearly influenced by his admiration for Mariano Fortuny. 32.5 x 40 cm; 52 x 58.5 cm (frame).
Subarna Subastas
Oct. 03, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "War in Africa", ca.1900. Oil on panel. Carved and gilded wooden frame. Good state of preservation. The varnish was cleaned in the 1970s-1980s. Provenance: Barbié gallery, 14-04-1973.
Est: €3,000 - €3,500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "War in Africa", ca.1900. Oil on panel. Carved and gilded wooden frame. Good state of preservation. The varnish was cleaned in the 1970s-1980s. Provenance: Barbié gallery, Barcelona, 14-04-1973. Attached certificate issued by Instituto Amatller de Arte Hispánico. Without signature. Measurements: 18 x 20 cm; 25 x 34 cm (frame). A war scene that took place in North Africa, which José Navarro resolves with a rapid pulse that transmits the din and drama of the conflict. The Valencian artist is indebted to Fortuny, who witnessed the battle fought in the Wad-Ras valley and left his unforgettable testimony of it. Navarro Llorens only knew of those clashes between Spain and Morocco through Fortuny's filter, but he poured a great deal of imagination into his depiction: the foreshortenings of the horses and fallen bodies, the army approaching under an overcast sky... are imbued with narrative intensity. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro Llorens turned to painting at a very early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Málaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House
Oct. 03, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Sailing boats", ca.1920. Oil on panel. Signed in the lower right corner.
Est: €3,000 - €3,500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Sailing boats", ca.1920. Oil on panel. Signed in the lower right corner. Size: 30 x 40 cm; 57 x 64 cm (frame). Marina set in the park of La Albufera, in which José Navarro displays a palette of brilliant cadences. The sails swollen by the wind and the chromatic touches that glide over the surface of the water place the boat in the heart of a translucent and intoxicating symphony. Sky and water seem to pour into each other, exchanging their reflections. In the distance, a row of small sailboats line the horizon. José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Málaga and in the Gerstenmaier collection, among other public and private collections.
Setdart Auction House