PEP COLOMER’S ART COLLECTION
Taking a quick glance at the more than fifty paintings and drawings that belonged to Pep Colomer it is easy to realise that the majority ended up in his hands as a result of the friendship he had with other artists; they were therefore certainly exchanges or gifts, and for this reason some works have a dedication from their author. These are the cases of big friends of his, painters from Girona or Barcelona, from both the same generation and younger than him, for example Enric Ansesa, Jaume Faixó, Enric Marquès, Pera Planells, Roca Delpech and Torras Bachs. He had coincided with all of them in group exhibitions and on other projects, such as the Cercle Artístic and ANSIBA.
Of special note is the series of works by Frederic Lloveras, with whom he was linked by a long and deep friendship from the time of the Republic until his death; that is why there are watercolours, oils, and drawings dated between 1941 and 1977, which feature portraits of Colomer and of his wife, Carme. Colomer admired Lloveras’ work, and it is not surprising that in his legacy there are also conserved catalogues, photographs and other documents related to the artistic career of his friend, as well as an interesting correspondence.
Between 1988 and 1990, Colomer also acquired important works of art.  Despite the variety of techniques and tendencies, what is surprising is Colomer’s interest in informalism and authors that approached abstraction but who did not wholly abandon figurative references. They are paintings and engravings by Catalan artists and foreigners living in Catalonia that he had seen exhibited in some of the art galleries that there were in Girona at the time. This is the case of the works by Tàpies, Clavé, Jim Bird, Beulas, Koyama and Dai-Bih-in.
Pep Colomer was not a collector, but this small and eclectic art collection shows his interest in contemporary languages. Here we publish it for the first time, and I must admit that the information is precarious, because this part of the legacy has been catalogued only partially and has not yet been studied in depth. However, it is worth showing these works because they also help us understand who Colomer was and what his artistic interests were. As a whole it is quite outstanding and provides a small but select panorama of Catalan painting in the second half of the 20th century.
 See the documentation of the Sebastià Jané gallery and the Caramany gallery, Colomer Collection, Fundació Colomer-Sanz, deposited in the Museu d’Art de Girona, reg. no. 555-561.