J. Serra (XX) - NO RESERVE - Flowers on a lace tablecloth





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Flowers on a lace tablecloth, an oil painting from Spain dating to 1940–1950, sold with frame.
Description from the seller
Flowers on Lace Tablecloth
Style: Naive, figurative, decorative.
Pictorial School: Catalan Postwar School · Mediterranean Popular Tradition
Technical Data Sheet
Author: J. Serra (20th century)
Chronology: Second half of the 20th century
Technique: Oil on canvas adhered to a board.
Measurements: 45 × 55 cm (artwork) · 57 × 67 cm (with frame)
Floral still life
Condition: Very good
Golden wood frame of quality, with continuous vegetal relief, in accordance with the decorative aesthetic of the artwork.
1. Descriptive and Iconographic Composition
The composition is arranged around an exuberant floral bouquet placed in a classic cup, centered and frontal, on a veined green cloth that resembles marble. The black background emphasizes the chromatic vibrancy of the ensemble, while the white lace introduces a delicate ornamental contrast.
The floral iconography, treated with almost artisanal meticulousness, evokes an idealized, timeless, and serene garden, loaded with domestic and emotional symbolism.
Style, School, and Context
The work is fully rooted in Catalan naive art, characterized by formal clarity, the absence of an academic perspective, and a taste for meticulous decoration.
Serra Quintana develops an honest and straightforward language, inheriting the Mediterranean popular tradition. His work dialogues with authors such as Séraphine Louis, Henri Rousseau, or, in the Catalan sphere, with certain decorative approaches close to Mariano Andreu, although from a more intimate and domestic sensitivity.
Aesthetic and Comparative Evaluation
This painting stands out for its compositional balance, richness of color, and strong authorial identity. The floral profusion, far from being redundant, constructs a harmonious and recognizable visual rhythm.
Within the market, Serra Quintana is valued as a solid representative of Catalan naïf, with growing collector interest, especially in still lifes of this format, comparable — in spirit — to French and Central European naïf schools that are now well valued.
Seller's Story
Flowers on Lace Tablecloth
Style: Naive, figurative, decorative.
Pictorial School: Catalan Postwar School · Mediterranean Popular Tradition
Technical Data Sheet
Author: J. Serra (20th century)
Chronology: Second half of the 20th century
Technique: Oil on canvas adhered to a board.
Measurements: 45 × 55 cm (artwork) · 57 × 67 cm (with frame)
Floral still life
Condition: Very good
Golden wood frame of quality, with continuous vegetal relief, in accordance with the decorative aesthetic of the artwork.
1. Descriptive and Iconographic Composition
The composition is arranged around an exuberant floral bouquet placed in a classic cup, centered and frontal, on a veined green cloth that resembles marble. The black background emphasizes the chromatic vibrancy of the ensemble, while the white lace introduces a delicate ornamental contrast.
The floral iconography, treated with almost artisanal meticulousness, evokes an idealized, timeless, and serene garden, loaded with domestic and emotional symbolism.
Style, School, and Context
The work is fully rooted in Catalan naive art, characterized by formal clarity, the absence of an academic perspective, and a taste for meticulous decoration.
Serra Quintana develops an honest and straightforward language, inheriting the Mediterranean popular tradition. His work dialogues with authors such as Séraphine Louis, Henri Rousseau, or, in the Catalan sphere, with certain decorative approaches close to Mariano Andreu, although from a more intimate and domestic sensitivity.
Aesthetic and Comparative Evaluation
This painting stands out for its compositional balance, richness of color, and strong authorial identity. The floral profusion, far from being redundant, constructs a harmonious and recognizable visual rhythm.
Within the market, Serra Quintana is valued as a solid representative of Catalan naïf, with growing collector interest, especially in still lifes of this format, comparable — in spirit — to French and Central European naïf schools that are now well valued.

