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

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
Oct. 03, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Pilgrimage". Oil on panel. Signed in the lower left corner.
Est: €3,000 - €3,500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "Pilgrimage". Oil on panel. Signed in the lower left corner. Size: 26 x 40 cm; 37 x 52 cm (frame). In this work Navarro shows himself to be close to the Andalusian Romantic school, the main exponent of the Romantic type of costume painting of the 19th century in Spain. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of Romanticism enlivened this trend, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the Romantic fashion, turned its eyes to the people and monuments of the past. It is in this context that we find this panel by Navarro, which depicts a popular Andalusian pilgrimage depicted with a highly descriptive brushstroke rich in nuances. The painter takes great pleasure in describing the details, particularly the clothing and ornaments, as well as in the narrative, seeking the expressiveness of the gestures and without skimping on the secondary details on either side of the central 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
Jul. 04, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923) "River Turia". Oil on table. Signed in the lower left corner. seamed. With a label from the Manuel Barbié Gallery.
Est: €20,000 - €22,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923) "River Turia". Oil on panel. Signed in the lower left corner. Engatillado. With label of the Manuel Barbié Gallery. Measurements: 41 x 70 cm; 60 x 90 cm (frame). 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 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
Jun. 12, 2023
JOSE NAVARRO LLORENS (Valencia, 1867-1923). "souk". Oil on table. Signed in the lower right corner.
Est: €600 - €800
JOSÉ NAVARRO LLORENS(Valencia, 1867 - 1923). "Zoco". Oil on panel. Signed in the lower right corner. Size: 9 x 13,5 cm; 20,5 x 24,5 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
Jun. 12, 2023
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
May. 08, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Young man with chickens". Oil on canvas adhered to cardboard. Signed in the lower left corner. It has very slight damage to the frame.
Est: €1,000 - €1,200
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Young Man with Chickens". Oil on canvas adhered to cardboard. Signed in the lower left corner. It presents very slight damages in the frame. Measurements: 7 x 19 cm; 20 x 32 cm (frame). José Navarro Llorens was very early inclined to painting, and he studied at the School of Fine Arts of San Carlos, 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. It seems that Navarro 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, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose 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
Apr. 24, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Small bathers". Oil on canvas.
Est: €10,000 - €12,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Small bathers". Oil on canvas. It has slight damage in the central area of the work (visible in the photograph). It has faults and damage to the frame. It shows remains of signature in the lower right area. Size: 38 x 48 cm; 53 x 61,5 cm (frame). In this work inspired by Sorolla's painting, the artist shows us two small children immersed in the gentle swell of the sea waves. The artist resolves the scene through the use of a broad, fluid brushstroke and shapes the volumetry of the protagonists. Colour and matter predominate over the drawing, which Navarro Llores plays less of a leading role in favour of the atmospheric capture and the tactile values offered by the work. Both children seem to be introduced into the landscape in an organic way, forming an indisputable part of the atmospheric perception of the work, which stands out for its careful study of light. 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, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose 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 Navarrete'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, as well as in the Gerstenmaier collection.
Setdart Auction House
Apr. 20, 2023
JOSÉ NAVARRO LLORENS (1867-1923). "ARAB ZOCO".
Est: €5,000 - €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
Mar. 28, 2023
JOSÉ NAVARRO LLORENS - Caravans in the desert
Est: -
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Caravans in the desert Oil on panel Signed Size 49 x 70 cm
Subastas Segre
Mar. 13, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach with fishermen". Oil on canvas. Signed in the lower left corner.
Est: €4,000 - €4,500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach with fishermen". Oil on canvas. Signed in the lower left corner. Size: 78 x 58 cm; 99 x 79 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 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. It seems that Navarro 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, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose 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 town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but it was always deeply personal, linked to Navarrete'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, as well as in the Gerstenmaier collection.
Setdart Auction House
Feb. 14, 2023
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923). "Marine". Oil on canvas. Signed in the lower right corner.
Est: €3,000 - €4,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Marina". Oil on canvas. Signed in the lower right corner. Size: 78,5 x 40,5 cm; 94 x 56 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 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 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
Dec. 15, 2022
JOSÉ NAVARRO LLORENS (1867-1923). "ARAB ZOCO".
Est: €8,000 - €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
Dec. 13, 2022
JOSE NAVARRO LLORENS (Valencia, 1867 - 1923). "Shipwreck". Oil on canvas. Signed in the lower left corner.
Est: €4,000 - €4,500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Shipwreck". Oil on canvas. Signed in the lower left corner. Size: 18 x 34 cm; 37 x 53 cm (frame). José Navarro Llorens was very early inclined towards painting, and he studied at the School of Fine Arts of San Carlos, 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 it was always deeply personal, linked to Navarrete'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, as well as in the Gerstenmaier collection.
Setdart Auction House
Nov. 02, 2022
JOSÉ NAVARRO LLORENS Valencia (1867 / 1923) "Ducks in the forest"
Est: €4,800 - €6,400
Oil on canvas Signed in the lower right corner Measurements: 40 x 32 cm
Ansorena
Oct. 25, 2022
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Port of Valencia Oil on panel Signe
Est: -
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Port of Valencia Oil on panel Signed and dated Measures 15.2 x 22 cm
Subastas Segre
Oct. 25, 2022
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Fruit still life Watercolor on paper
Est: -
JOSÉ NAVARRO LLORENS Valencia 1867-1923 Fruit still life Watercolor on paper Signed Size 125 x 75 mm
Subastas Segre
Oct. 19, 2022
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923). "Little bathers." Oil on canvas. It presents slight damage in the central area of the work (Visible in photograph). It has flaws and flaws in the frame.
Est: €10,000 - €12,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Small bathers". Oil on canvas. It has slight damage in the central area of the work (visible in the photograph). It has faults and damage to the frame. It shows remains of signature in the lower right area. Size: 38 x 48 cm; 53 x 61,5 cm (frame). In this work inspired by Sorolla's painting, the artist shows us two small children immersed in the gentle swell of the sea waves. The artist resolves the scene through the use of a broad, fluid brushstroke and shapes the volumetry of the protagonists. Colour and matter predominate over the drawing, which Navarro Llores plays less of a leading role in favour of the atmospheric capture and the tactile values offered by the work. Both children seem to be introduced into the landscape in an organic way, forming an indisputable part of the atmospheric perception of the work, which stands out for its careful study of light. 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, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose 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 Navarrete'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, as well as in the Gerstenmaier collection.
Setdart Auction House
Oct. 19, 2022
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach with fishermen". Oil on canvas. Signed in the lower left corner.
Est: €4,000 - €4,500
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Beach with fishermen". Oil on canvas. Signed in the lower left corner. Size: 78 x 58 cm; 99 x 79 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 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. It seems that Navarro 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, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose 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 town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but it was always deeply personal, linked to Navarrete'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, as well as in the Gerstenmaier collection.
Setdart Auction House
Sep. 28, 2022
JOSÉ NAVARRO LLORENS Valencia (1867 / 1923) "Arab in the medina"
Est: €300 - €400
Gouache on cardboard. Signed in the lower right corner. Measurements: 12 x 10 cm.
Ansorena
Sep. 20, 2022
JOSE NAVARRO LLORENS - Valencia 1867-1923
Est: -
JOSE NAVARRO LLORENS Valencia 1867-1923 Landscape Oil on board Signed Measures 11.5 x 17.6 cm
Subastas Segre
Jul. 13, 2022
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). No title. Oil on panel. Signed in the lower right corner.
Est: €3,000 - €4,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). Untitled. Oil on panel. Signed in the lower right corner. Size: 16 x 34 cm; 35 x 53 cm (frame). José Navarro Llorens took up 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 town's 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
Jul. 05, 2022
JOSÉ NAVARRO LLORENS - Landscape with a bridge
Est: €1,500 - €3,000
JOSE NAVARRO LLORENS Valencia 1867-1923 landscape with bridge Oil on canvas adhered to tablex Signed Measures 20 x 24.3 cm Acquired at Concha Barrios Fine Arts (documentation attached).
Subastas Segre
Jul. 05, 2022
JOSE NAVARRO LLORENS - Landscape
Est: €1,500 - €3,000
JOSE NAVARRO LLORENS Valencia 1867-1923 Scenery Oil on canvas mounted on cardboard Signed Measures 22 x 27.5 cm Acquired at Concha Barrios Fine Arts (documentation attached).
Subastas Segre
Jun. 14, 2022
José Navarro Lloréns (Spanish, 1867-1923) Travellers by a market gate, Tangiers
Est: £10,000 - £15,000
José Navarro Lloréns (Spanish, 1867-1923) Travellers by a market gate, Tangiers signed and dated 'Jose Navarro/99' (lower right) oil on canvas 30.3 x 49.6cm (12 x 19 1/2in). For further information on this lot please visit the Bonhams website
Bonhams
Jun. 14, 2022
José Navarro Lloréns (Spanish, 1867-1923) The souk, Tangier
Est: £20,000 - £30,000
José Navarro Lloréns (Spanish, 1867-1923) The souk, Tangier signed and dated 'Jose Navarro/1900' (lower left) oil on canvas 42.2 x 65.5cm (16 5/8 x 25 3/4in). For further information on this lot please visit the Bonhams website
Bonhams
Jun. 09, 2022
JOSÉ NAVARRO LLORENS (Valencia, 1867 – 1923). No title. Oil glued to board. Signed in the lower right corner.
Est: €3,000 - €4,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). Untitled. Oil pasted on board. Signed in the lower right corner. Size: 23 x 36 cm; 59 x 67 cm (frame). In this work inspired by Sorolla's painting, the artist shows us two small children immersed in the gentle swell of the sea waves. The artist resolves the scene through the use of a broad, fluid brushstroke and shapes the volumetry of the protagonists. Colour and matter predominate over the drawing, which Navarro Llores plays less of a leading role in favour of the atmospheric capture and the tactile values offered by the work. Both children seem to be introduced into the landscape in an organic way, forming an indisputable part of the atmospheric perception of the work, which stands out for its careful study of light. 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, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose 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 Navarrete'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, as well as in the Gerstenmaier collection.
Setdart Auction House
Jun. 09, 2022
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Arab caravan". Oil on canvas. Signed in the lower right corner.
Est: €10,000 - €12,000
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923). "Arab caravan". Oil on canvas. Signed in the lower right corner. Measurements: 80 x 140 cm; 110 x 170 cm (frame). This painting was made by José Navarro as a result of his trip to Morocco, a country whose landscapes and people would inspire him splendid paintings of caravans advancing through arid and wild orographies. The influence of Mariano Fortuny can be seen in the vitalism of the brushstroke, energetic and agile, based on vibrant touches of the brush which submerge us in the mystery of Arabia and North Africa, his is an energetic realism which converts light into a plastic and even tactile value, not only chromatic. 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. It would appear that Navarro never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he painted genre scenes and scenes of gallantry for fans. 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 town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but it was always deeply personal, linked to Navarrete's own way of understanding the world. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Setdart Auction House
May. 12, 2022
ATTRIBUTED TO JOSÉ NAVARRO LLORENS (1867-1923). "SHEPHERDESS WITH GEESE".
Est: €500 - €800
Oil on canvas. Partially legible signature on the lower right corner. The work has been restored. 37.5 x 32.5 cm; 53 x 49 cm (frame).
Subarna Subastas
May. 10, 2022
JOSÉ NAVARRO LLORENS. Valencia (1867 / 1923). "Arab Souk".
Est: €7,500 - €10,000
Oil on panel. Signed in the lower right corner. .29,5 x 40 cm.
Ansorena