Santiago Rusiñol Prats Sold at Auction Prices

Landscape painter, b. 1861 - d. 1931

(b. 1861, Barcelona, Spain; d. 1931, Aranjuez, Spain) Spanish painter. Born into a family working in the textile industry, Rusinol chose not to take over the family business, but instead decided to become an artist. He attended the Gervex Academy in Paris where he studied under Puvis de Chavannes and Eugene Carriere. During his time in Paris, Rusinol exhibited at the Paris Salon. The charismatic leader of Catalan Modernism, and a founder of Els Quatre Gats in Barcelona, Rusinol traveled widely and continued to stay often in Paris. It was in here that Rusiñol came into contact with Edgar Degas and James Abbot McNeil Whistler, whose work had a particular influence on his own. Notwithstanding his position as a leading member of the international avant-garde, however, it was in Spain, away from the clamor of the Parisian metropolis, that he was able to explore the full range of his resonant palette and where many of his most powerful and evocative works were completed. It was in 1895, during a visit to Granada, that Rusiñol first discovered the beauty of landscape gardens, which henceforth became central to his oeuvre. Rusinol was also a writer, collector and playwright.
Credit: Sotheby’s, London, November 18, 2003- 19th Century European Paintings including Spanish Paintings 1850-1930. Lot 230

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      • Santiago Rusiñol (1861-1931) ‘Garden Sketch’
        Oct. 31, 2024

        Santiago Rusiñol (1861-1931) ‘Garden Sketch’

        Est: €3,800 - €5,000

        Oil on panel. Signed ‘S. Rusiñol’ and dedicated to “Miss Ana Urquijo” in the lower right corner.  Sizes: 32 x 20 cm; Size with frame: 53.5 x 43.7 cm

        Subastas Darley
      • Rusiñol. The tranquil island
        Oct. 23, 2024

        Rusiñol. The tranquil island

        Est: -

        RUSIÑOL, Santiago.- "THE TRANQUIL ISLE" English version of "La illa de la calm" by Mary Lake. Palma de Mallorca: Ed. Baleares, sa 8º, perg. Roman style; nerves and double weave on the ridge. Duplessis-Bracons wood engravings.

        Duran Arte y Subastas
      • Rusiñol. Gardens of Spain
        Oct. 23, 2024

        Rusiñol. Gardens of Spain

        Est: -

        RUSIÑOL, Santiago.- "JARDINS D´ESPANYA" B.: Thomas, 1903. Large folio, ex. on branch in folder ed. with lacework closures. 40 reproductions of gardens of Spain painted by Santiago Rusiñol.

        Duran Arte y Subastas
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "El Cementiri d'Ix", 1890
        Sep. 24, 2024

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "El Cementiri d'Ix", 1890

        Est: €36,000 - €48,000

        Oil on canvas (relined) Signed in the lower right corner. Bibliography: -Josep de C. Laplana and Mercedes Palau-Ribes, "The painting of Santiago Rusiñol. Catàleg sistemàtic", Barcelona, ​​Mediterrània publishing house, sfp 35 (reproduced) -Mercedes Palau-Ribes, "Rusiñol un estiuejant singular a la Cerdanya" , Girona Magazine, nª243, July-August 2007 Measurements: 107 x 81 cm

        Ansorena
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “Landscape”
        Jul. 22, 2024

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “Landscape”

        Est: €15,000 - €20,000

        Oil on canvas Signed in the lower right corner. On the back with a label from the Biosca Gallery, Madrid Measurements: 41 x 66 cm

        Ansorena
      • The Fountain of Narcissus in Aranjuez, also known as Fonte de Gigantes | La Fontaine de Narcisse à Aranjuez, dit aussi Fonte de Gigantes
        Jun. 19, 2024

        The Fountain of Narcissus in Aranjuez, also known as Fonte de Gigantes | La Fontaine de Narcisse à Aranjuez, dit aussi Fonte de Gigantes

        Est: €100,000 - €150,000

        Property from a Distinguished Spanish Private Collection Santiago Rusiñol Barcelona 1861 - 1931 Aranjuez The Fountain of Narcissus in Aranjuez, also known as Fonte de Gigantes Oil on canvas Signed lower left S. Rusiñol 109 x 135,2 cm ; 42⅞ by 53¼ in. ____________________________________________ Provenant d'une prestigieuse collection particulière espagnole Santiago Rusiñol Barcelona 1861 - 1931 Aranjuez La Fontaine de Narcisse à Aranjuez, dit aussi Fonte de Gigantes Huile sur toile Signé en bas à gauche S. Rusiñol 109 x 135,2 cm ; 42⅞ by 53¼ in.

        Sotheby's
      • Posta de sol a Casa Badés
        Jun. 19, 2024

        Posta de sol a Casa Badés

        Est: €80,000 - €120,000

        Property from a Distinguished Spanish Private Collection Santiago Rusiñol Barcelona 1861 - 1931 Aranjuez Posta de sol a Casa Badés, 1927 Oil on canvas Signed lower left S. Rusiñol; titled and signed on the reverse "Jardin del Principe"/ S. Rusiñol 85 x 100,3 cm ; 33½ by 39½ in. ____________________________________________ Provenant d'une prestigieuse collection particulière espagnole Santiago Rusiñol Barcelone 1861 - 1931 Aranjuez Posta de sol a Casa Badés, 1927 Huile sur toile Signé en bas à gauche S. Rusiñol ; titré et signé au dos "Jardin del Principe"/ S. Rusiñol 85 x 100,3 cm ; 33½ by 39½ in.

        Sotheby's
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Character with barretina and umbrella". Pencil on paper. Signed and dedicated to J. Coll. The paper has moisture stains and a couple of tears.
        Apr. 23, 2024

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Character with barretina and umbrella". Pencil on paper. Signed and dedicated to J. Coll. The paper has moisture stains and a couple of tears.

        Est: €3,000 - €3,500

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Character with barretina and umbrella". Pencil on paper. Signed and dedicated to J. Coll. The paper has moisture stains and a couple of tears. Measurements: 24,5 x 15,5 cm; 33,5 x 24,5 cm (frame). Painter, writer and playwright in Catalan language, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Center of Watercolorists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. During those years he made a carriage trip through Catalonia with Casas, taking notes of types and landscapes. The year 1888 marks a turning point in his career, since he begins with three new activities: he publishes some writings in "La Vanguardia", participates in the Paris Salon and holds his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settles in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared, and his style evolved towards naturalism. He also approaches the thematic, but not technical, approaches of the impressionists, as well as their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first patios and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returns to Paris with Casas and Utrillo. At this time he will focus on representing the entertainment spaces of the area, such as the Moulin de la Galette, which will be the protagonist of many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Ile Saint Louis, where he focused on the psychological study of the figure, especially the female figure, reflecting the sadness, melancholy and loneliness typical of the fin-de-siècle period. The following year he travels to Italy with Zuloaga, visiting Pisa, Florence and other places, which allows him to know closely the primitives. On his return he exhibits the paintings made during this trip in what will be his first personal exhibition in the Sala Parés. That same year he inaugurates the Cau Ferrat in Sitges, the seed of the current museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he made some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadence. The elegant garden becomes the protagonist, symbol of poetry; the abandoned garden hides a past of lost splendor. Rusiñol then travels, looking for gardens that seduce him, and paints them interiorizing them, showing his personal conception of beauty, of life and death, of art and reality, of solitude and the passing of time. Around this time, he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. This last exhibition, of individual character and celebrated in 1899, supposed the international recognition of Rusiñol, whose success was based on a new vision of Spain, totally removed from clichés and loaded with veracity. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions in the Sala Parés, always with Casas and Clarasó. In 1908 he received the medal of the National Exhibition of Fine Arts. He is represented in the Prado Museum, the National Art Museum of Catalonia, the Camón Aznar Museum of Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “Landscape”
        Apr. 10, 2024

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “Landscape”

        Est: €22,500 - €30,000

        “Landscape” Oil on canvas Signed in the lower right corner. On the back with a label from the Biosca Gallery, Madrid Measurements: 41 x 66 cm

        Ansorena
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "El Cementiri d'Ix", 1890
        Apr. 10, 2024

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "El Cementiri d'Ix", 1890

        Est: €48,000 - €64,000

        "El Cementiri d'Ix". Oil on canvas (relined) Signed in the lower right corner. Bibliography: -Josep de C. Laplana and Mercedes Palau-Ribes, "The painting of Santiago Rusiñol. Catàleg sistemàtic", Barcelona, ​​Mediterrània publishing house, sfp 35 (reproduced) -Mercedes Palau-Ribes, "Rusiñol un estiuejant singular a la Cerdanya" , Girona Magazine, nª243, July-August 2007 Measurements: 107 x 81 cm

        Ansorena
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "La font del Gat. Montjüic, suburb of Barcelona", 1887
        Mar. 04, 2024

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "La font del Gat. Montjüic, suburb of Barcelona", 1887

        Est: €75,000 - €100,000

        Oil on canvas. Signed in the lower right corner Exhibitions: - "Santiago Rusiñol", Sala ParEs, Barcelona, ​​1887, as "Studi de Montjuic" - "Homenatge a Santiago Rusiñol. 1861-1931", Sala ParEs, Barcelona, ​​June-July, 1981, nº2 (with labels on the back) Bibliography: -Coll, I., "Santiago Rusiñol", Ed. Ausa, Sabadell 1992 p.186 -Laplana, J. de C. and Palau-Ribes O'Callaghan, M., “The painting of Santiago Rusiñol: complete work”, vol. III, ed. MediterrAnea, 2004, pp. 28 Measurements: 95 x 130 cm

        Ansorena
      • SANTIAGO RUSIÑOL. Cemetery in Ix.
        Dec. 20, 2023

        SANTIAGO RUSIÑOL. Cemetery in Ix.

        Est: €20,000 - €24,000

        Oil on canvas Signed. Literature: Josep de C. Laplana and Mercedes Palau-Ribes, “La pintura de Santiago Rusiñol. Catàleg sistemàtic”, Barcelona, Editorial Mediterrània, sf, p. 35 107x81 cm.

        Balclis
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Jardi de Sant Just D´Esvern", 1930
        Dec. 19, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Jardi de Sant Just D´Esvern", 1930

        Est: €82,500 - €110,000

        Oil on canvas Signed in the lower right corner. On the back is the label of Barrachina & Ramoneda, who certified the work in 2008 (certificate is attached). This work, painted just a year before the painter's death, was one of those prepared for the exhibition at the Sala Pares in Barcelona in 1931. Although it was not finally included in the catalogue, it was photographed by Francesc Serra in the selection process (conserved in the Barcelona photographic archive: AHCB/AF/Serra 353-B). Bibliography: Laplana, J. de C. and Palau-Ribes O'Callaghan, M., “The painting of Santiago Rusiñol: complete work”, vol. III, ed. Mediterrània, 2004, p. 212 no. 21.4.4 (reproduced) Measurements: 85 x 100 cm

        Ansorena
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower left corner. It has slight flaws in the pictorial layer.
        Dec. 18, 2023

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower left corner. It has slight flaws in the pictorial layer.

        Est: €7,000 - €9,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower left corner. It has slight flaws in the pictorial layer. Measurements: 73 x 60 cm; 83 x 70 cm (frame). Painter, writer and playwright in Catalan language, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Center of Watercolorists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. During those years he made a carriage trip through Catalonia with Casas, taking notes of types and landscapes. The year 1888 marks a turning point in his career, since he begins with three new activities: he publishes some writings in "La Vanguardia", participates in the Paris Salon and holds his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settles in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared, and his style evolved towards naturalism. He also approaches the thematic, but not technical, approaches of the impressionists, as well as their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first patios and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returns to Paris with Casas and Utrillo. At this time he will focus on representing the entertainment spaces of the area, such as the Moulin de la Galette, which will be the protagonist of many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Ile Saint Louis, where he focused on the psychological study of the figure, especially the female figure, reflecting the sadness, melancholy and loneliness typical of the fin-de-siècle period. The following year he travels to Italy with Zuloaga, visiting Pisa, Florence and other places, which allows him to know closely the primitives. On his return he exhibits the paintings made during this trip in what will be his first personal exhibition in the Sala Parés. That same year he inaugurates the Cau Ferrat in Sitges, the seed of the current museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he made some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadence. The elegant garden becomes the protagonist, symbol of poetry; the abandoned garden hides a past of lost splendor. Rusiñol then travels, looking for gardens that seduce him, and paints them interiorizing them, showing his personal conception of beauty, of life and death, of art and reality, of solitude and the passing of time. Around this time, he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. This last exhibition, of individual character and celebrated in 1899, supposed the international recognition of Rusiñol, whose success was based on a new vision of Spain, totally removed from clichés and loaded with veracity. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions in the Sala Parés, always with Casas and Clarasó. In 1908 he received the medal of the National Exhibition of Fine Arts. He is represented in the Prado Museum, the National Art Museum of Catalonia, the Camón Aznar Museum of Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Character with barretina and umbrella". Pencil on paper. Signed and dedicated to J. Coll. The paper has moisture stains and a couple of tears.
        Dec. 18, 2023

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Character with barretina and umbrella". Pencil on paper. Signed and dedicated to J. Coll. The paper has moisture stains and a couple of tears.

        Est: €3,000 - €3,500

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Character with barretina and umbrella". Pencil on paper. Signed and dedicated to J. Coll. The paper has moisture stains and a couple of tears. Measurements: 24,5 x 15,5 cm; 33,5 x 24,5 cm (frame). Painter, writer and playwright in Catalan language, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Center of Watercolorists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. During those years he made a carriage trip through Catalonia with Casas, taking notes of types and landscapes. The year 1888 marks a turning point in his career, since he begins with three new activities: he publishes some writings in "La Vanguardia", participates in the Paris Salon and holds his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settles in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared, and his style evolved towards naturalism. He also approaches the thematic, but not technical, approaches of the impressionists, as well as their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first patios and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returns to Paris with Casas and Utrillo. At this time he will focus on representing the entertainment spaces of the area, such as the Moulin de la Galette, which will be the protagonist of many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Ile Saint Louis, where he focused on the psychological study of the figure, especially the female figure, reflecting the sadness, melancholy and loneliness typical of the fin-de-siècle period. The following year he travels to Italy with Zuloaga, visiting Pisa, Florence and other places, which allows him to know closely the primitives. On his return he exhibits the paintings made during this trip in what will be his first personal exhibition in the Sala Parés. That same year he inaugurates the Cau Ferrat in Sitges, the seed of the current museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he made some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadence. The elegant garden becomes the protagonist, symbol of poetry; the abandoned garden hides a past of lost splendor. Rusiñol then travels, looking for gardens that seduce him, and paints them interiorizing them, showing his personal conception of beauty, of life and death, of art and reality, of solitude and the passing of time. Around this time, he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. This last exhibition, of individual character and celebrated in 1899, supposed the international recognition of Rusiñol, whose success was based on a new vision of Spain, totally removed from clichés and loaded with veracity. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions in the Sala Parés, always with Casas and Clarasó. In 1908 he received the medal of the National Exhibition of Fine Arts. He is represented in the Prado Museum, the National Art Museum of Catalonia, the Camón Aznar Museum of Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • Sa Coma, Mallorca
        Dec. 07, 2023

        Sa Coma, Mallorca

        Est: £150,000 - £200,000

        Property from a European Private Collection  Santiago Rusiñol Spanish 1861 - 1931 Sa Coma, Mallorca signed S. Rusiñol lower left oil on canvas Unframed: 66 by 85cm., 26 x 33½in. Framed: 97 by 115.5cm., 38¼ by 45½in.

        Sotheby's
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "The Oleanders. Sa Coma (Valldemosa)", c. 1904
        Nov. 07, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "The Oleanders. Sa Coma (Valldemosa)", c. 1904

        Est: €82,500 - €110,000

        Oil on canvas Signed in the lower right corner. Certificate from Mercedes Palau-Ribes O'Callaghan is attached. Exhibitions: - "Inaugural Exhibition of the Círculo de Bellas Artes", Palma de Mallorca, December 4, 1904 - "Impressions de Mallorca", Sala Parés, Barcelona, ​​February 1905, with catalog number 14 and the title in Catalan "Baladres ( The Oleanders)" - "Salon de la Société Nationale des Beaux-Arts", Paris, 1905, with catalog number 1074 and the title "Les lauries roses". Bibliography: - Santiago Rusiñol BLM invites Sr... il´invita to visit the Impressions of Mallorca, exhibited at the Saló Parés, on the 18th of the current...Barcelona, ​​Febrer 1905. Tip. L'Avenç. - Société Nationale des Beaux-Art, Catalog illustré du Salon de 1905, Ludovic Baschet, Paris, 1905, p. XXVI, catalog number: 1074: Les Lauriers roses - Gustave Babin, "La Salon de 1905 à la Société Nationale des Beaux-Arts", L'Echo de Paris, 14-IV-1905, nº 7616, p.2 - Billy , "La Salon de la Société Nationale des Beaux Arts", La Libre Parole, nº 4742, 14-IV-1905, p.1-2 - "Les Salons de Peinture, Société Nationale, II", Banlieu de Paris, 14- IV-1905 - La Libre critique du Salon, 1905 [press clipping in the Album of Memories of Santiago Rusiñol, vol. IV, ref. no. 668] - Les Salons dde 1905, Paris, 1905, p.12 - Henri EON "Salon de la Société Nationale des Beaux-Arts", Le Siècle, 14-IV-1905, no. 25311, p. 2 - Gustave Geffroy, "Les Salons de 1905 Sociéte Nationale des beaux-Arts", Le jorunal, 4579, 14-IV-1905, p.5 - L. Roger-Milès, "Les Salons de 1905", L´Èclaire, nº 5982, supplément, 4-14-1905, p.6 - Thiébault-Sisson, "Le Salon de 1905. La Société Nationale des Beaux-Arts", Le Petit Temps, 4-14-1905, nº 2028, p.1 - "Le Salon de la Société Nationale des Beaux-Arts. La Peinture", Journal Officiel des Beaux-Arts: Bulletin hebdomadaire, 15-IV-1905, p.1 -E. Gómez Carrillo, "París. The gardens of Rusiñol in the Hall", El Liberal (Madrid), nº 9320, 23-IV-1905, p.1 - Francisco Melgar, "París. The Hall of the National Society", La Defensa (alcoy), May 18, 1905, no. 404, p.2 - León Daudet, "Salut au Roi et à l'Espagne", Le Gaulois, May 31, 1905, no. 10091, p.1 - Tristan Leclère ( Klingsor), Les Salons de 1905, Paris. E. Sansot & Cie, 1905, p.12 - Max Nordau, Neue Freie Press (Vienna), May 1905 (press clipping in the Album of Memories of Santiago Rusiñol, vol. IV, ref. no. 690). - Josep de C. Laplana- Mercedes Palau - Ribés O'Callaghan, The painting of Santiago Rusiñol. Complete work. Barcelona, ​​2004. Origin: Gift from the author to his close French friend, León Daudet (1867-1942), son of the writer Alphonse Daudet, on the occasion of his marriage to the writer Marthe Allard "Pampille" (1878- 1960). Les Lauriers roses,

        Ansorena
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “Cloister of the Cathedral of Tarragona”, 1894
        Oct. 04, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “Cloister of the Cathedral of Tarragona”, 1894

        Est: €195,000 - €260,000

        Oil on canvas Signed in the lower right corner Provenance: - Private collection Bibliography - Jordá, JM, 19-X-1894, p.2 - LR, 18-X-1894 - DM, 21-X-1894 - I. Bo I Singla, LVdS, 21-X-1894, p.2 - Casellas, R., LV, 21-X-1894 - Cabot I Rovira, J., LVC, IV, 28-X-1894, p. 494 - Reading, 1, Madrid, 1901, p. 865 - Laplana, J. de C., “Santiago Rusiñol. The painter. l'home”, Montserrat Abbey, 1995, p.222, cat. 10.4 - Laplana, J. de C. and Palau-Ribes O'Callaghan, M., “The painting of Santiago Rusiñol: complete work”, vol. III, ed. Mediterranean, 2004, early 93-94, nº 10.4 (reproduced) Exhibitions: - Sala Parés, Barcelona, ​​October 1894: “Claustre de Tarragona” - Salon de la Societe Nationale des Beux-Arts, Paris, 1898, nº 1083:

        Ansorena
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "The rector. Beatitude", 1888
        Jul. 19, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "The rector. Beatitude", 1888

        Est: €60,000 - €80,000

        Oil on canvas. Signed in the lower right corner. Bibliography: ·Laplana, J. and Palau-Ribes O'Callaghan, M., “The painting of Santiago Rusiñol”, Editorial Mediterránea, 2004, vol. 3, p. 21. ·Coll Mirabent, I., “Rusiñol i la vida moderna”, Consorci del Patrimoni de Sitges, 2006, pp. 53, 211 and 358-359. ·Clusellas, C., “Santiago Rusiñol in terres gironines”, Museu d'art de Girona, 2016, pp. 64-65. Measurements: 67 x 139 cm.

        Ansorena
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Landscape"
        Jul. 19, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Landscape"

        Est: €18,000 - €24,000

        Watercolor on paper Signed in the lower left corner. Barrachina & Ramoneda label on the back with the reference number D/C 2005/FPMN Barrachina & Ramoneda opinion MN-2022-9012 dated March 2, 2022 is attached Measurements: 57 x 91 cm

        Ansorena
      • Sa Coma, Mallorca
        Jul. 06, 2023

        Sa Coma, Mallorca

        Est: £150,000 - £200,000

        Property from a European Private Collection  Santiago Rusiñol Barcelona 1861–1931 Aranjuez Sa Coma, Mallorca signed lower left: S. Rusiñol oil on canvas 66 x 86 cm.; 26 x 33¾ in.

        Sotheby's
      • SANTIAGO RUSIÑOL (1861-1931). "JARDÍN CON SURTIDOR", Aranjuez, Circa 1920.
        Jun. 21, 2023

        SANTIAGO RUSIÑOL (1861-1931). "JARDÍN CON SURTIDOR", Aranjuez, Circa 1920.

        Est: €65,000 - €100,000

        Oil on canvas. Signed. Exhibition in Barcelona, 1921. Sala Parés, gener, 3: Brolladors de molsa. Archive Ref. AHCB/AF/SERRA 1406. AFR 115. The invoice of Sala Parés exhibition in 1921 is preserved, where it was acquired for 3000 pesetas. Literature: C. de C Laplana, Josep de; Palau-Ribes, Mercedes; "La Pintura de Santiago Rusiñol", Systematic Catalogue. p. 185. 84 x 104 cm; 103 x 123 cm (frame).

        Subarna Subastas
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Laundries of Barceloneta"
        Jun. 14, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Laundries of Barceloneta"

        Est: €105,000 - €140,000

        Oil on canvas Signed in the lower left corner. Labels from Sala Parés, Barrachina & Ramoneda and Sotheby's on the back Provenance: -Sala Parés, Barcelona, ​​1960 -Private collection, 1970 -Sotheby's London, May 23, 2013, lot 227 (BI) -Private collection, Girona Exhibitions: - “Rusiñol. Houses. Clarasó”, Sala Parés, Barcelona, ​​1890, nº 41 (as “Lavanderas”) - “Homenatge del Cercle Artístic”, Barcelona, ​​1932 - “Half a century ago”, Sala Parés, Barcelona, ​​1944, nº 11 - “Exhibition of paintings de Santiago Rusiñol”, Salón Vilches, Madrid, 1944, no. quadres cèlebres”, Barcelona, ​​Sala Parés, 1960, nº 22 - “Exposició Centenari naixement de Santiago Rusiñol”, Antic Hospital de la Santa Creu, Barcelona City Council, Barcelona, ​​1961, no. 30 - “Centenary of the Sala Parés. Commemorative Exhibition”, Sala Parés, Barcelona, ​​1977, nº 52 (label on the back) Bibliography: - “La Vanguardia”, October 17, 1890 (reproduced on the cover) -Roch, h. J., “Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm Barcelona, ​​1961, no. 20 - "Exposició homage to Santiago Rusiñol", Sala Parés-Ajuntament de Barcelona, ​​Barcelona, ​​1969, no. 30 - “Centenary of the Sala Parés. Commemorative Exhibition”, Sala Parés, Barcelona, ​​1977, nº 52 (label on the back) Bibliography: - “La Vanguardia”, October 17, 1890 (reproduced on the cover) -Roch, h. J., “Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm Barcelona, ​​1961, no. 20 - "Exposició homage to Santiago Rusiñol", Sala Parés-Ajuntament de Barcelona, ​​Barcelona, ​​1969, no. 30 - “Centenary of the Sala Parés. Commemorative Exhibition”, Sala Parés, Barcelona, ​​1977, nº 52 (label on the back) Bibliography: - “La Vanguardia”, October 17, 1890 (reproduced on the cover) -Roch, h. J., “Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm 30 - “Centenary of the Sala Parés. Commemorative Exhibition”, Sala Parés, Barcelona, ​​1977, nº 52 (label on the back) Bibliography: - “La Vanguardia”, October 17, 1890 (reproduced on the cover) -Roch, h. J., “Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm 30 - “Centenary of the Sala Parés. Commemorative Exhibition”, Sala Parés, Barcelona, ​​1977, nº 52 (label on the back) Bibliography: - “La Vanguardia”, October 17, 1890 (reproduced on the cover) -Roch, h. J., “Santiago Rusiñol (1861-1931). Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm Ein Beitrag zur Kunst des augehenden 19 Jhs. in Katalonien”, Frankfurt am Main, 1983, fig. 8 (reproduced) -Laplana, J. de C., “Santiago Rusiñol, the painter, l'home”, Albadia de Montserrat, 1995, p. 484, nº 4.2.11 -Laplana, J de C., and Palau-Ribes, M., “The painting of Santiago Rusiñol. Systematic Catalog”, Barcelona, ​​2004, vol. III, p. 31, no. 4.2.14 Measurements: 57 x 92.5 cm

        Ansorena
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "El pati blanc", Palma de Mallorca, 1919. Oil on canvas. Signed in the lower left corner.
        Jun. 12, 2023

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "El pati blanc", Palma de Mallorca, 1919. Oil on canvas. Signed in the lower left corner.

        Est: €100,000 - €120,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "El pati blanc", Palma de Mallorca, 1919 Oil on canvas. Signed in the lower left corner. Work catalogued in "La pintura de Santiago Rusiñol. Obra Completa", J. de C. Laplana- Mercedes Palau Ribes, Barcelona, 2004, vol. III, p. 129. Exhibitions: - Palma, Antigüedades Victoria. - Bilbao, 1919, International Exhibition, August, 329: Patio blanco (Mallorca). - Barcelona, 1920, Sala Parés, February 17, Pati blanc (Mallorca). - Sitges, 1981, Maricel, June-August, "Cinquantenari", 35: Pati amb flors, 1893. Provenance: Acquired in Sala Parés in the 1960s by the present owner. A certificate can be issued at the buyer's request and expense. Measurements: 87 x 110 cm; 103 x 126 cm (frame). The island of Mallorca, to which Santiago Rusiñol travelled for the first time in the spring of 1893 and from 1901 to 1907 he returned to stay for long periods, made a deep impression on the painter. The landscapes and gardens of the so-called "island in calm", the title of the book he published in 1922 on Mallorca, were an important source of inspiration for the modernist painter, both in his painting and in his literature. As on this occasion, Rusiñol sought out and immortalised gardens that seduced him, and he painted them by interiorising them, showing his personal conception of beauty, of life and death, of art and reality, of solitude and the passing of time. They were romantic and evocative corners in which he reflected his own sensitive temperament, managing to transfer to the canvas the unique atmosphere of these secret places, real but at the same time a metaphor for a state of the soul. Years later, in 1895, Rusiñol travelled to Granada for the first time and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appeared in his literary work "El jardín abandonado" (The Abandoned Garden), where he cultivated a symbolist decadence. The elegant garden then became the protagonist, a symbol of poetry; the abandoned garden concealed a past of lost splendour. A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Ile Saint-Louis. On his return he exhibited the paintings he produced on this trip in what was to be his first one-man show at the Salle Parés. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL. Cemetery in Ix.
        May. 25, 2023

        SANTIAGO RUSIÑOL. Cemetery in Ix.

        Est: €20,000 - €24,000

        Oil on canvas Signed. Literature: Josep de C. Laplana and Mercedes Palau-Ribes, “La pintura de Santiago Rusiñol. Catàleg sistemàtic”, Barcelona, Editorial Mediterrània, sf, p. 35 107x81 cm.

        Balclis
      • Santiago Rusiñol (Barcelona, 1861 - Aranjuez, 1931 ) “Vista de París junto al Sena”
        May. 18, 2023

        Santiago Rusiñol (Barcelona, 1861 - Aranjuez, 1931 ) “Vista de París junto al Sena”

        Est: €6,000 - €9,000

        Santiago Rusiñol (Barcelona, 1861 - Aranjuez, 1931) “View of Paris” Oil on cardboard 16 x 24 cm 6.000 - 9.000 €

        Greco Subastas
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "El Tajo (Aranjuez)", 1930
        Mar. 28, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "El Tajo (Aranjuez)", 1930

        Est: €157,500 - €210,000

        Oil on canvas Signed in the lower left corner Certificate of authenticity by Mercedes Palau-Ribes O'Callaghan signed in 2022 Francesc Serra i Dimas is attached (Barcelona, ​​1877-1967) at Rusiñol's request, he took a photograph of the work for the 1931 exhibition at Sala Pars. The negative is conserved in the Serra collection of the Photographic Archive of the City of Barcelona, ​​with the no. Serra 338-B. Exhibitions: -“Santiago Rusiñol, RamOn Casas, Enric ClarasO”, February 28 to March 13, 1931, Sala Pars, Barcelona, ​​catalog number: 6: “EI Tajo (Aranjuez)” Bibliography: -LOpez, A., “Santiago Rusiñol, RamOn Casas, Enric ClarasO”, Barcelona, ​​1931 catalogue-triptych with a list of the exhibited works. -Laplana, Josep de C., “Santiago Rusiñol, the painter, l'home”. Publicacions de l'Abadía de Montserrat, Barcelona, ​​1995, p. 464, catalog number: 17.10.13. -Laplana, Josep de C. and Palau- Ribes O´Callaghan, M., “The painting of Santiago Rusiñol. Complete work”, Editorial Mediterrània, Barcelona, ​​2004, vol. III, p. 192, catalog number: 11.17.11., El Tajo, IV (Aranjuez) Measurements: 108 x 135.5 cm

        Ansorena
      • SANTIAGO RUSIÑOL. A girl.
        Mar. 09, 2023

        SANTIAGO RUSIÑOL. A girl.

        Est: €1,800 - €2,000

        Oil on canvas. Signed Possibly made in Consuegra in 1891. 36x21cm.

        Balclis
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “La Bauliene”, 1891
        Feb. 22, 2023

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) “La Bauliene”, 1891

        Est: €162,000 - €216,000

        Oil on canvas Signed in the lower left part Marçal Barrachina opinion attached nº D/C.-2008/HTRS dated 06/26/2008 Bibliography and exhibitions: -“Exp. Rusiñol, Casas and Claraso”, Nov 1891. Sala Parés -Barcelona 1932. Homage of the Cercle Artistic. -Barcelona 1944. Sala Parés October. Expo. "Half a century ago" -Barcelona 1956. Royal Artistic Circle. December “Tribute Exhibition” -“Expo. S. Rusiñol” Santa Creu Room Barcelona City Council, March 1961 -Olot, Girona 1961. Vayreda Room. -“Expo. Tribute Santiago Rusiñol. Painting” Sala Parés- Barcelona City Council, October 1969 -Paris “Les Noces Catalanes. Barcelona-Paris” Artcurial 1985 p. 19 -“Santiago Rusiñol. The painter, l'home” Josep de C. Laplana. Montserrat Abbey. p. 508 num.6.5.9. -“Santiago Rusiñol (1861-1931)” MNAC Barcelona 1997-1998 and Fundación Cultural MAPFRE, Madrid 1998 p.165 -Palma-Girona-Oviedo-Lleida (1999-2000) “Spanish painters in Paris, 1880-1910” -Isabel Coll "Santiago Rusiñol", Ed. Ausa, Sabadell 1992 p. 240 - Josep de C. Laplana. "The painting of Santiago Rusiñol", Systematic Cat. Edit Mediterranean. P. 67 num.6.5.9 -“Ramon Casas, the yearned for modernity”, Maricel de Sitges Museum (2016-2017), CaixaForum Madrid, Caixa Forum Palma de Mallorca -“Impressionism and Spanish Art” Museum of Ruddian Impressionism. Moscou (2019-2020) Origin: -Private collection, Barcelona Measurements: 100 x 130 cm

        Ansorena
      • SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower right corner. Restorations visible on the back.
        Dec. 28, 2022

        SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower right corner. Restorations visible on the back.

        Est: €20,000 - €25,000

        SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower right corner. Restorations visible on the back. Measurements: 54,5 x 67 cm; 69 x 82 cm (frame). A dirt road goes into the landscape until it gets lost behind a dense grove. Sienas and earthy colours cover the plain and form a symmetry in dialogue with the limpid sky mottled with mauves in the sunset. Dark foliage and the emerald green of the trees border the terrain. The composition has been masterfully studied to achieve effects of calm and stillness. A painter, writer and playwright, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a subject that would define his later style. In 1890 he returned to Paris with Casas and Utrillo. In 1893 he left his studio in Montmartre and moved to the Ile Saint-Louis, where he focused on the psychological study of the figure. On his return he exhibited at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appeared in his literary work. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a one-man show held in 1899, brought Rusiñol international recognition, and his success was based on a new vision of Spain, totally free of clichés and full of truthfulness. In 1908 he was awarded the medal at the National Exhibition of Fine Arts.

        Setdart Auction House
      • SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Laundresses of Barceloneta", 1890
        Dec. 14, 2022

        SANTIAGO RUSIÑOL Barcelona (1861) / Aranjuez (1931) "Laundresses of Barceloneta", 1890

        Est: €195,000 - €260,000

        Oil on canvas Signed in the lower right corner Certificate of authenticity by Mercedes Palau-Ribes dated 10/25/2022 is attached Exhibitions: -Barcelona, 1890, Sala parés: Exposició Rusiñol, Casas y Clarasó, October, nºcat 41 -Barcelona, ​​1932, Círculo Artístico, Homage exhibition, September-October -Barcelona, ​​1944, Sala parés, October, Half a century ago. Paintings by Santiago Rusiñol, cat. 11 -Madrid 1944, Vilches room, Rusiñol Exhibition, cat. 6 -Gerona, 1956, Municipal Hall, October, Tribute Exhibition, cat. 16 -Barcelona 1956, Royal Artistic Circle, December, Santiago Rusiñol Tribute Exhibition -Barcelona, ​​1984, Oriol Art Gallery, March -Barcelona, ​​2005, Gallery Miguel Sauret "Sicoris", Antique dealers. Barcelona Fair, February-London, 2007, Sotheby's, November lot 168 Bibliography: -"Exhibition Parés. Rusiñol, Casas and Clarasó", La Vanguardia, nº1615, October 17, 1890 pl.1 p.85 -"Sala Parés", La Vanguard, 1617, October 19, 1890, p.3 (catalogue of the exhibited works) -Half a century ago. Paintings by Santiago Rusiñol (Planas-Rusiñol Collection. Opening exhibition of the 1944-45 season (September 30 to October 17, 1944) Barcelona, ​​Sala Parés. Gráficas Alfa, SA, 912 (1944) -Exhibition of paintings by Santiago Rusiñol. Portraits- landscapes-gardens. Vilches Hall (November 14 to 30, 1944). Madrid, Vilches Hall. NAGSA (1944) -Exhibition tribute to Santiago Rusiñol on the 20th centuryV anniversary of his death. Gerona, DCP, 1956 -Royal Artistic Circle Barcelona Institute of Art and friends of museums. Tribute exhibition Santiago Rusiñol. From December 7 to 24, 1956. Barcelona, ​​Graphic Arts Juan Sabadell, 1956 -Sotheby's, 19th Century paintings including Spanish painting and Symbolism & The Poetic Vision, London 2007 -Coll, Isabel "Rusiñol and European painting", 2006, p .85, ill. Measurements: 75.5 x 115 cm

        Ansorena
      • SANTIAGO RUSIÑOL - Child sitting near a tree. 1885-1889
        Dec. 13, 2022

        SANTIAGO RUSIÑOL - Child sitting near a tree. 1885-1889

        Est: -

        SANTIAGO RUSIÑOL Barcelona 1861-Aranjuez 1931 Child sitting near a tree. 1885-1889 Oil on canvas Signed Measurements 96 x 74.5 cm Work exhibited at: - Sala Parés in Barcelona (see label on back, ref nº ASP 11738, 5-20) Work published in: - Mercedes Palau-Ribes and Josep de C. Laplana, The painting of Santiago Rusiñol. Complete Works, 2004, vol. III, p. 22. We thank Mercedes Palu-Rives for her help in cataloging this work.

        Subastas Segre
      • Green Amphitheater, a view of Sa Coma gardens | Amphithéâtre vert, vue des jardins de Sa Coma
        Nov. 10, 2022

        Green Amphitheater, a view of Sa Coma gardens | Amphithéâtre vert, vue des jardins de Sa Coma

        Est: €100,000 - €150,000

        Santiago Rusiñol Barcelona 1861 - 1931 Aranjuez Green Amphitheater, a view of Sa Coma gardens Oil on canvas Signed lower left S. Rusiñol 100 x 134,3 cm ; 39 ⅜ by 52 ⅞ in. ____________________________________________ Santiago Rusiñol Barcelone 1861 - 1931 Aranjuez Amphithéâtre vert, vue des jardins de Sa Coma Huile sur toile Signé en bas à gauche S. Rusiñol 100 x 134,3 cm ; 39 ⅜ by 52 ⅞ in. Bid on Sotheby's

        Sotheby's
      • SANTIAGO RUSIÑOL (Barcelona, 1861 – Aranjuez, Madrid, 1931). "The Fountain of the Gat". Oil on canvas. Presents informative labels on the back of the Sala Parés (Barcelona). Signed in the lower right corner.
        Oct. 19, 2022

        SANTIAGO RUSIÑOL (Barcelona, 1861 – Aranjuez, Madrid, 1931). "The Fountain of the Gat". Oil on canvas. Presents informative labels on the back of the Sala Parés (Barcelona). Signed in the lower right corner.

        Est: €60,000 - €80,000

        SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931). "La Font del Gat. Oil on canvas. With information labels on the back from the Sala Parés (Barcelona). Signed in the lower right corner. Measurements: 97 x 130 cm; 127,5 x 161,5 cm (frame). The Font del Gat is a fountain in Barcelona included in the Inventory of the Architectural Heritage of Catalonia. Font del Gat translates as the cat's fountain in English. It is located in the Jardins de Laribal, on Montjuïc. A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the germ of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts.

        Setdart Auction House
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Seated Child", ca. 1885. Oil on canvas. Signed in the lower right corner.
        Oct. 06, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Seated Child", ca. 1885. Oil on canvas. Signed in the lower right corner.

        Est: €24,000 - €28,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Seated Child", ca. 1885. Oil on canvas. Signed in the lower right corner. Work published in "La pintura de Santiago Rusiñol. Obra completa", Vol. 3, Josep de C. Laplana and Mercedes Palau-Ribes O'Callaghan, Editorial Mediterrània, p. 22. Size: 98 x 75 cm; 125 x 100 cm (frame). A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he opened the Cau Ferrat in Sitges, the seed of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, of life and death, of art and reality, of solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Yard". Pencil on paper. Signed in the lower right corner.
        Oct. 06, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Yard". Pencil on paper. Signed in the lower right corner.

        Est: €2,200 - €2,500

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Garden". Pencil on paper. Signed in the lower right corner. Size: 26 x 23 cm; 44 x 36 cm (frame). Painter, writer and playwright in Catalan language, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he opened the Cau Ferrat in Sitges, the seed of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Yard". Pencil on paper. Signed in the lower right corner.
        Oct. 06, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Yard". Pencil on paper. Signed in the lower right corner.

        Est: €1,800 - €2,200

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Garden". Pencil on paper. Signed in the lower right corner. Size: 22 x 22 cm; 36 x 36 cm (frame). Painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he opened the Cau Ferrat in Sitges, the seed of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL (1861-1931). "CLARASÓ. ESCULTURAS".
        Sep. 22, 2022

        SANTIAGO RUSIÑOL (1861-1931). "CLARASÓ. ESCULTURAS".

        Est: €180 - €450

        Barcelona, Antonio López, [192?]. Hardcover, unpaginated, 88 photographs glued on poster board. With dedication: "Al amigo Luis Carbrera / Recuerdo / E. Clarasó". With damages (volume separated from its covers, small folds on some photographs, handwritten notes).

        Subarna Subastas
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Female portrait", ca.1890. Oil on canvas. Signed in the lower right corner.
        Sep. 22, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Female portrait", ca.1890. Oil on canvas. Signed in the lower right corner.

        Est: €8,000 - €10,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Female portrait", ca.1890. Oil on canvas. Signed in the lower right corner. Size: 41 x 30 cm; 58 x 47 cm (frame). Among other pictorial genres, Santiago Rusiñol excelled in the genre of portraiture, especially female portraits. His gallery of self-absorbed, melancholic and withdrawn women is in keeping with the fin-de-siècle decadent taste. In the case of this young woman with her slanted gaze and half-closed eyelids, the face hides from direct contemplation, thus preserving its mystery and keeping it at a distance. The colourful, almost impressionistic brushstrokes with which the costumes, the patterned mantilla, the pleats, etc., are reproduced contrast with the naturalistic definition of the facial features. Rusiñol flirted with various avant-garde movements then in vogue, but his artistic personality stands out above specific styles. Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he took part in the Paris Salon and held his first solo exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis. The following year he travelled to Italy with Zuloaga. On his return he exhibited the paintings made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the seed of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", in which he cultivates a symbolist decadence. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL Y PRATS (BARCELONE 1861-1931 ARANJUEZ) Campanars : Lumièr
        May. 18, 2022

        SANTIAGO RUSIÑOL Y PRATS (BARCELONE 1861-1931 ARANJUEZ) Campanars : Lumièr

        Est: €30,000 - €50,000

        SANTIAGO RUSIÑOL Y PRATS (BARCELONE 1861-1931 ARANJUEZ) Campanars : Lumière du soir, Gérone huile sur sa toile, sur sa toile d'origine 97,5 x 123,5 cm (38 3/8 x 48 5/8 in.)

        Christie's
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 – Aranjuez, Madrid, 1931). "Bois Boulogne,París" Oil on board. It has flaws in the frame. Signed in the lower right corner.
        May. 11, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 – Aranjuez, Madrid, 1931). "Bois Boulogne,París" Oil on board. It has flaws in the frame. Signed in the lower right corner.

        Est: €2,000 - €2,500

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Bois Boulogne Forest in Paris. Oil on panel. Damage to the frame. Signed in the lower right corner. Size: 15 x 22 cm; 24,5 x 31,5 cm (frame). Rusiñol's landscapes have always stood out for a great mastery in the use of colour, which becomes the main protagonist of his landscape compositions. In this case we can appreciate those very personal violet shades that were very common in Rusiñol's work. The work stands out for its great sobriety, which is due to the classical composition and also to the small format of the pictorial support. A painter, writer and playwright in the Catalan language, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the germ of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian.

        Setdart Auction House
      • Santiago Rusiñol.Tarragona's cathedral cloister
        Apr. 27, 2022

        Santiago Rusiñol.Tarragona's cathedral cloister

        Est: -

        Oil on canvas. Signed in the lower left corner. Work probably painted in 1897, the year in which he painted various views of the cloister of the Cathedral of Santa María de Tarragona.

        Duran Arte y Subastas
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower right corner. With Sala Parés label on the back.
        Mar. 15, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower right corner. With Sala Parés label on the back.

        Est: €28,000 - €30,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Landscape. Oil on canvas. Signed in the lower right corner. With Sala Parés label on the back. Exhibition: "Homenatge a Santiago Rusiñol", Sala Parés, June-July 1981. Sizes: 75 x 114 cm; 93 x 135 cm (frame). A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the germ of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • Santiago Rusiñol.Tarragona's cathedral cloister
        Feb. 23, 2022

        Santiago Rusiñol.Tarragona's cathedral cloister

        Est: -

        Oil on canvas. Signed in the lower left corner. Work probably painted in 1897, the year in which he painted various views of the cloister of the Cathedral of Santa María de Tarragona.

        Duran Arte y Subastas
      • SANTIAGO RUSIÑOL - Village landscape
        Feb. 08, 2022

        SANTIAGO RUSIÑOL - Village landscape

        Est: €250 - €500

        SANTIAGO RUSIÑOL Barcelona 1861-Aranjuez 1931 Village landscape Ink drawing on paper Signed Size 100 x 65 mm

        Subastas Segre
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Peasant's house". Oil on canvas. Signed in the lower right corner.
        Jan. 27, 2022

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Peasant's house". Oil on canvas. Signed in the lower right corner.

        Est: €12,000 - €14,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "Peasant's house". Oil on canvas. Signed in the lower right corner. Size: 81 x 40 cm; 96 x 55 cm (frame). From his earliest youth, Rusiñol was interested in the most remote Catalan landscapes, as is shown by the journey he made in a cart with Ramón Casas through different local villages, taking sketches from life of types and corners. This farmhouse, framed under a semicircular arch and standing at the end of a pebbled path, bears witness to this. Later on, the modernist artist did not cease to be interested in painting gardens and solitary corners, as in his series Jardines de España ("Gardens of Spain"). A painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan Modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges, the germ of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". He exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "House of peasant. Oil on canvas.
        Dec. 14, 2021

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "House of peasant. Oil on canvas.

        Est: €18,000 - €20,000

        SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931). "House of peasant. Oil on canvas. Signed in the lower right corner. Measurements: 81 x 40 cm; 96 x 55 cm (frame). From his first youth, Rusiñol was interested in the most remote Catalan landscapes as it shows his trip in carriage that he realized with Ramón Casas by different local towns, taking notes to the natural of types and corners. This farmhouse, framed under a semicircular arch and standing at the end of a pebble path, is proof of this. Later on, the modernist artist would not cease to be interested in painting gardens and solitary corners, as in his series Jardines de España (Gardens of Spain). Painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Center of Watercolorists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. The year 1888 marks a turning point in his career, since he begins with three new activities: he publishes some writings in "La Vanguardia", participates in the Paris Salon and holds his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settles in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared, and his style evolved towards naturalism. He also approaches the thematic, but not technical, approaches of the impressionists, as well as their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first patios and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returns to Paris with Casas and Utrillo. At this time he will focus on representing the entertainment spaces of the area, such as the Moulin de la Galette, which will be the protagonist of many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the island of Saint Louis, where he focused on the psychological study of the figure, especially female, reflecting the sadness, melancholy and loneliness typical of the fin-de-siècle period. The following year he travels to Italy with Zuloaga, visiting Pisa, Florence and other places, which allows him to know closely the primitives. On his return he exhibits the paintings made during this trip in what will be his first personal exhibition in the Sala Parés. That same year he inaugurates the Cau Ferrat in Sitges, the seed of the current museum. In 1895 he makes his first trip to Granada, and begins the series "Gardens of Spain". He exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. This last exhibition, of individual character and celebrated in 1899, supposed the international recognition of Rusiñol, whose success was based on a new vision of Spain, totally removed from clichés and loaded with veracity. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions in the Sala Parés, always with Casas and Clarasó. In 1908 he received the medal of the National Exhibition of Fine Arts. He is represented in the Prado Museum, the National Museum of Art of Catalonia, the Camón Aznar Museum of Zaragoza and the Thyssen-Bornemisza, among others.

        Setdart Auction House
      • SANTIAGO RUSIÑOL. Barcelona Cathedral Choir.
        Oct. 28, 2021

        SANTIAGO RUSIÑOL. Barcelona Cathedral Choir.

        Est: €13,000 - €15,000

        Oil on canvas Signed. Made between 1886 and 1889. Provenance: Domènec Carles collection, Barcelona (1935); private collection, Barcelona. Literature: Josep de C. Laplana and Mercedes Palau, “La pintura de Santiago Rusiñol. Obra completa”, Barcelona, Mediterrània, 2004, p. 24, cat no. 3.6 (reproduced) 91.5x71 cm.

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