A silver mounted photograph frame, Mere Designs, Edinburgh 1998, of rectangular form with reeded border, navy velvet to reverse with easel support, 24cm x 19cm, together with a further silver mounted photograph frame, B S C Ltd, London 1994, of rounded rectangular from with embossed scrolling detail, navy velvet to reverse with easel support, 23.8cm x 18.4cm (2)CR; Mere Designed example: The silver mount is lifting slightly in the corners. Definition has been lost to the detail on the border. Moderate amount of small dents, scratching and wear to the frame mounts throughout. Easel is wobbly. Glass in good order. No signs of repair or splitting.BSC example: Light denting, scratching and wear throughout mount. No signs of splitting or repair. Glass in good order.
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A colour-change sapphire and diamond ring, the central rectangular cushion cut sapphire weighing 5.20 carats (measuring 10.8mm L x 8.9mm W x 5.9mm D), with three baguette cut diamonds to each shoulder, all set in platinum to a plain polished shank, ring size O 1/2, weight 6.2gms With accompanying report from The Gem & Pearl Laboratory, report no. 21000, stating that the carat weight is 5.20 carats, that the stone is a natural colour change sapphire, of Sri Lankan origin, shows no evidence of heat treatment and appears blue in day light and purple in incandescent light.Note; Inclusions are visible with naked eye, running across the facets of one side of the sapphire. These can be seen in the third picture on finger, running down the left. Under 10x, there are two translucent crystal inclusions, one to the right of the table (as pictured in the third image), and one below the table. There is also a hemi-sphere shaped fingerprint inclusion visible under 10x, running diagonally from just off centre of the table to the bottom left claw. Please see additional images.Stone in very good order, no cracks, chips or losses. Claws in good order, stones are secure. Diamonds are in good order, no cracks, chips or losses. Stones are secure. Settings and shank are in good order, no signs of re-sizing, thinning, denting or repair.Bidders are advised to view all images provided, and additional images and videos are available upon request.Bidders wishing to view this lot can book an appointment to view in our Whitchurch sale room, or can arrange a video call with a member of our team.This lot will not be eligible for in house postage and packaging. If you are intending to bid on this lot, please make your own arrangements for shipping.
A silver and enamelled dressing table set, Adie Brothers, Birmingham 1939, comprising mirror, clothes brush and hairbrush, each with shaped borders and light blue guilloche enamel, mirror 28cm long, complete in a fitted caseCR: Chip to the enamel of the reverse of the hairbrush, about 8mm wide. General scratching and wear, no other large chips or losses. Some light denting and splitting to the silver around the brush head. Bristles show moderate to heavy wear.Enamel to mirror is in good order, no cracks, chips or losses, general scratching and wear only. Glass in good order, no cracks, chips or losses. No splits or denting to the silver, general scratching and wear commensurate with age and use only.Enamel to clothes brush is in good order, no cracks, chips or losses. Silver in good order, some thinning and very minor denting around the bristles, but this is largely in good order. Bristles show moderate to heavy wear.One of the buckles to the case is missing/not functioning. Heavy wear and tear to the leather, perticularaly concentrated on the edges. Interior silk and velvet show general wear and tear, but largely in good order.
A World War I four to Sergeant Leslie Frank Wright (initially No.1605 Oxfordshire & Buckinghamshire Light Infantry, later No.22904 Machine Gun Corps), comprising: the Military Medal (awarded for bravery in the field), the British War Medal (ribbon swapped with Victory medal), the 1914/15 Star, and the Victory Medal (ribbon swapped with War Medal), framed with a Territorial Efficiency Medal, a Special Constabulary medal, a Defence Medal and a Machine Gun Corps badge, 36.5cm x 44cm overall, with various documents to include photos of the recipient, a field postcard, a Machine Gun Corps Christmas card etc
A Victorian coromandel stationery box, stamped Edwards & Jones, Regent St, London, to the lock, the hinged top and fall front opening to a compartmentalised interior with an arrangement of small drawers, letter racks, stamp wallets and an accounts booklet, with an inset skiver to the inside of the fall front, the case applied with brass banding and side swing handles, 35cm H x 35cm W x 17cm D Condition reportMinor blistering to the veneer on top of the box, general tarnishing to the brass banding and handles.One spandrel missing from the skiver with minor ripples to the skiver, general light wear and fading commensurate with age and use.Key operates fall front lock (although 'stiff') and drawer
A selection of silver tableware, to include; a George V silver four-division toast rack, Reid & Sons, Birmingham 1936, 7.5cm long, a silver commemorative seal top spoon for the coronation of Elizabeth II, Reid & Sons, London 1953, a George V silver mounted pepper grinder, Hukin & Heath, Birmingham 1932, 10cm high, a pair of Victorian silver sugar tongs, 12.5cm long, a continental silver teaspoon, 13.6cm long, and a George III silver caddy spoon, 7.2cm long (6)CR; Pepper Grinder: Several dents around the head and base, leading to some misshaping. Heavy scratching and wear throughout. No signs of splitting and repair. Moderate wear to the hallmarks, but they are legible.Toast rack: Moderate bending/misshaping to the base - as a result, the rack does not sit flat on a level surface. There is some bending/misshaping to the arches, mostly concentrated to the central bar. Moderate scratching and wear throughout. No splitting or signs of repair.Seal top spoon: Some denting/misshaping wear the bowl meets the handle. Some splitting where the bowl meets the handle, and to the detail of the finial. Moderate scratching, wear and tear. Jubilee mark to inside of bowl. No signs of repair.Continental spoon: Moderate denting to the bowl. Moderate scratching and wear throughout. Some small areas of splitting and loss to the handle. No signs of repair.Sugar tongs: Connecting pin is slightly loose, and the two halves do not sit flush to each other, wobbling when opening. Some denting to the highpoints and finger loops, some areas of minor splitting in the loops and crevices. No signs of repair.Caddy spoon: Some thinning around the edges of the bowl and handle, light denting throughout. No signs of splitting or repair.
A Kashmiri silkwork rug, late 20th century, in blue, claret and ivory colourways, the central arrangement of alternating foliate panels overlaid with trailing vinery, and enclosed by a conforming repeating border, 242cm x 153cmCondition reportGood condition, with no visible marks, very light wear only
A Kashmiri silkwork rug, late 20th century, in blue, claret and ivory colourways, the central arrangement of alternating foliate panels overlaid with trailing vinery, and enclosed by a border of alternating gulls depicting zoomorphic subjects, 240cm x 152cmCondition reportGood condition, with no visible marks, very light wear only
A red ground Persian fabriz carpet with Shabaz medallion, in red, green and blue colourways, the blue tipped spandrels enclosing the all over foliate design, within multiple trailing borders, 280cm x 180cmCondition reportPile condition is good with only light general wear, very minor fading to two corners, no holes or splits
A set of five Irish pewter graduated measures by Austen & Son of Cork, 19th century, each of haystack form, impressed maker's marks to bases, the largest 19cm high, the smallest 7cm high (5)Condition reportRough solder joints to the top of all handles, handle on second smallest measure slightly off centre, dent to handle on the second largest measure.General light scratches and rubbing to all measures commensurate with age and use.
A pair of French painted metal five branch wall light fittings, early 20th century, each of scrolling form, punctuated with mauve coloured glass flower heads, extending to clear glass sconces, droplet pendants and simulated candle fittings, 46cm high (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A pair of mid century Italian toleware wheatsheaf three branch ceiling light fittings, each formed from wheatsheaf sprays punctuated by painted poppy flower heads and three 'S' shaped branches, 46cm high (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A French kingwood wall mirror, early 20th century, the pronounced angular corners centred with moulded rivet detail, enclosing the rectangular mirrored plate, 115cm H x 78cm WCondition reportSingle visible worm hole to the mirror beading, minor veneer stress crack to the corner of the frame (see further images).Mirrored plate probably later, otherwise general light wear and fading commensurate with age and use
A Louis XV style fauteuil, mid 20th century, upholstered in tapestry fabric, the carved stained beech wood frame extending to padded out swept arms terminating in scrolled detail, above a serpentine sprung seat, raised upon leaf carved French cabriole legs and scrolled toes, 95cm highCondition reportSmall chip to apron above rear leg joint, see image, sprung seat with matting to the back rest, general light wear commensurate with age and use
A Louis XV style burr walnut and marble top commode chest, late 19th/early 20th century, the figured grey marble top with canted corners above a frieze drawer and three long drawers, applied with brass flower head back plates and drop handles, above a plinth base and moulded angular bun feet, 94cm H x 110cm W x 55cm DCondition reportLight fading and scratches to marble top, vertical split 34cm running from top downwards on the RHS along with a full height split, similar split on the LHS.Moulding on front right foot is detached but present, all drawers run smoothly, general light wear commensurate with age and use.
An Edwardian silver epergne, William M Hayes, Birmingham 1904, trumpet shaped with waved borders, the central section flanked by three further detachable posy vases, upon a circular weighted base, 25.6cm highCR; Light denting to the central stem. Two of the smaller vases have a few larger, deeper dents. All stems show heavy scratching and wear, no splitting or signs of repair. The stem holders on the base are heavily worn, showing bending and large splits. As a result, the stems are very wobbly and do not sit properly in their settings, and do fall out when moved. Denting to the knop and base, heavy scratching and wear. The base is very heavily scratched and worn. Please see additional images.
A 17th century and later constructed oak settle, the back board with a shaped pediment over a nulled frieze and twin panels carved with flower head and lozenge detail, above the board seat and conforming shaped apron, raised upon front baluster and block supports, united to plain rear supports with cross stretchers, 117cm H x 121cm W x 52cm DCondition reportEvidence of historic worm to the top rail, 5cm spliced repair to rear left foot, chip to the front left ball foot, evidence of reconstruction to the underside of the seat, overall the settle is sound with little or no play in the joints, general light wear commensurate with age and use
A George III mahogany tray top tripod table, the circular tilt top with raised moulded rim, upon a ring turned and cup pedestal, extending to three cabriole down swept supports and pad feet, 69cm H x 56cm DCondition reportGeneral light wear and marks to table top, very minor evidence of historic worm to the underside block which is possibly later, otherwise no visible damage or faults.
A Regency mahogany and satinwood crossbanded Pembroke table, the rectangular top with rounded leaves above an oak lined frieze drawer, applied with hardwood button handles and opposed by a faux drawer, raised upon slender tapering legs of square section, brass shoes and castors, 72cm H x 79cm W x 45cm D extending to 101cmCondition reportExtensive fading to the top and one end of the table, light water marks and scratching to the table top.One leaf has very slight warp, general wear commensurate with age and use.
A George III style oxblood red leather wing back office or club chair, late 20th century, the button back with out swept wing backs extending to padded scrolled arms, applied with peripheral stud detail and raised upon short cabriole legs, 108cm high, along with a conforming foot stool (2)Condition reportGeneral light rubbing wear, particularly to the arms, minor creasing to the seat cushion although no splits or cracks.Light scuffs and marks to the legs, all wear commensurate with age and use.108xm H x 90cm W (wing backs) x 87cm D, seat height 45cm
A George III style wing back armchair, 19th century, upholstered in pink velour, the camel back extending to padded wing backs and scrolled arms, above the straight front seat, raised upon acanthus leaf carved cabriole front legs, terminating in ball and claw feet, plain back swept rear legs, 111cm highCondition reportSeat width at front 65cm, between arms 47cm, height of back from seat 72cmRibbon edging at front of the chair is detached, 10cm light stain to the seat, general fading particularly to the right arm and wing back, evidence of historic woodworm and restoration to all legs, very minor play in the right arm and wing back.
A late 19th/early 20th century mahogany shop/retail display cabinet, by Sage & Co, London, the two glazed doors applied with brass drop handles, opening to six adjustable glass shelves, with glass side panels and a solid back panel, raised upon turned feet, 102cm H x 120cm W x 44cm D (at fault)Condition report15cm crack to counter top front RH corner (see additional image), light water stains and fading to the top frame, five shelves appear to be later associated and have been 'cut to fit', interior fabric has some fading and light stains, general wear commensurate with age and useHalf width shelves with central bracket support
A Victorian mahogany Sutherland table, the rectangular drop leaf top with rounded corners raised upon bobbin turned supports and down swept feet united by a conforming cross stretcher, 69cm H x 90cm W x 15cm D extending to 111cmCondition reportGeneral gouges and marks to the top and light scuffing marks to the feet and supports, commensurate with age and use
A 19th century ash and elm farmhouse Windsor elbow chair, the hooped back with a pierced splat and pad arms, above the shaped and figured elm seat, raised upon conforming turned legs united by tapering cross stretchers, 113cm highCondition reportGeneral light rubbing particularly to the arms, light scratches and marks to the seat, little or no play in the joints, overall general wear commensurate with age and use
A Victorian mahogany twin scroll end sofa, upholstered in green velour, the serpentine back rail centred with a carved foliate motif, extending to the padded scroll ends each raised upon curved supports with conforming foliate detail, and united by a channelled front apron, raised upon ring turned vase shaped feet, brass shoes and castors, 53cm H x 207cm W x 60cm DCondition reportVery minor play in back rest, minor chips, marks and scuffs to the frame and legs, upholstery in good condition with only light wear, overall solid condition with some evidence of light restoration
A Victorian button back tub chair, upholstered in red velour, the arched padded back and arms, enclosing the serpentine seat, raised upon walnut French cabriole legs, and plain back swept rear legs, upon ceramic castors, 87cm highCondition reportGeneral light marks and scuffs to the legs, although no visible cracks or faults, chair has been later re upholstered with the fabric in good condition with only very light wear.
A 19th century ash, elm and beech wood Windsor farmhouse elbow chair, stamped 'J W Webb', the hooped back above a shaped elm seat stamped with the makers name and further initials 'J F S', raised upon turned beech legs united by a 'H' cross stretcher, 110cm highCondition reportLight wear and minor chips to feet, small chip to the seat at the front LH leg joint, only very minor play in the joints.Chair has been later varnished indicating there has been some light sympathetic restoration.
A Victorian satin birch chest of drawers, finished with a tiger stripe patina, the rectangular top with rounded front corners above an arrangement of two short and three long graduated and cock beaded drawers, applied with hardwood button handles, raised upon a plinth base, 106cm H x 108cm W x 54cm DCondition report Very light fading to LHS, 2cm chip to veneer on the edge of the top, back RH corner, very light marks and chips to chest top, both handles on the bottom drawer have been repaired, one lacking collar, general good condition with only light wear commensurate with age and use
A late Victorian honey oak extending dining table, the rectangular top with rounded corners raised upon substantial ring turned and incised vase shaped legs, with inset brass castors to the feet, three extra leaves, 76cm H x 136cm W (extending to 311cm) x 128cm DCondition reportGeneral light wear to the table top, marks, stains and scratches commensurate with age and use.General scuffs and marks to the legs, one foot appears to be stained darker than the others although there is no visible signs of repair or damage.Minor 5cm chip to the edge of one table leaf.
A Victorian mahogany extending dining table, the rectangular top with rounded corners and a moulded edge, raised upon tapering octagonal legs terminating in brass shoes and castors, with four extra leaves, 72cm H x 147cm W (extending to 329cm) x 151cm D (treated historic worm to the runners)Condition reportGeneral light wear, scratches, rubbing and stains, to the table top commensurate with age and use, similarly general light scuffs and marks to the legs.Extensive treated historic worm to the runners, see additional images.
An Edwardian mahogany bow front display cabinet, by Ray and Miles, Liverpool, the raised back above a single convex glazed door opening to two fixed shelves, raised upon legs of tapering square section and spade feet, 134cm H x 60cm W x 35cm DCondition reportOnly light wear and fading, some stains to the interior fabric, no visible faults or damage
A pair of 1960's egg shaped revolving office chairs in the style of Arne Jacobsen for Fritz Hansen, each covered in vibrant red fabric and raised upon a chromed pedestal and four out set feet, 112cm high (at fault)Condition reportOne chair is missing the adjustment lever, some light fading particularly to the rear of the chairs, some rubbing to the arms commensurate with age and use.
A 'Harris Tweed' chesterfield type settee, late 20th century, the deep set back and padded scrolled arms enclosing the bowfront sprung seat and a pair of conforming loose cushions, raised upon lobed vase shaped hardwood feet applied with brass caps, 70cm H x 182cm W x 95cm Dcondition reportSome light pilling to the front of the settee, otherwise light wear only, no rips or tears to the fabric and no noticeable odour.Springs appear to be in good condition with no signs of coils protruding, however a full inspection of the springs is difficult due to them being enclosed.No rips and tears to the fabric, all legs in good condition with no splits or breakages
A 'Harris Tweed' wing back fireside armchair, late 20th century, the scalloped padded back rest enclosed by shaped wing backs, above a loose cushion seat and padded scrolled arms, raised upon vase shaped front feet and brass castors, plain back swept rear legs, 109cm highCondition reportSome light pilling to the front of the chair, otherwise light wear only, no rips or tears to the fabric and no noticeable odour.
A set of six mid century Danish design teak dining chairs in the manner of Mogens Kold, each with a concave back rail above a woven strung seat, upon legs of tapering section, 73cm high, along with a similar but none conforming extending teak dining table, the rectangular top with canted corners upon cylindrical tapering legs, 73cm H x 162cm W x 100cm extending to 164cm D (7)Condition reportOne chair has string unwinding from the front and back of the seat, a second chair has one strand of string unwinding from the side. Otherwise all chairs have little or no play in the joints and general minor wear with light fading commensurate with age and use.The table also has light wear only with very minor marks and rubbing to the table top and legs.
A 1960's/70's Staples teak Ladderax wall unit, comprising; seven ladder racks, four glazed cabinets, one single drawer chest, a three drawer chest, three fall front cabinets, six assorted shelves and fitting rods, lacking some tip hooks PLEASE NOTE: The paintings visible in the photographs are NOT part of this lotMeasurements tallest ladder 201cm , short ladder 110cmwidest shelf/cabinet 90cm, narrow shelf 59cm deepest cabinet 42cmTotal measurements 241cm H x 368cm W x 42cm DCondition reportOverall general light wear with some minor rubbing marks, light water stains and fading. No visible damage or faultsComplete with two keys for the lockable fall fronts, however no keys for the drawers.
A 1960's/70's Staples teak Ladderax wall unit, comprising; seven ladder racks, two glazed cabinets, one single drawer chest, a three drawer chest, two fall front cabinets, a sliding cabinet, nine assorted shelves, three corner shelves and fitting rods, lacking some tip hooks PLEASE NOTE: The paintings visible in the photographs are NOT part of this lotMeasurementstallest ladder 201cmshort ladder 178cm wide shelf/cabinet 90cmnarrow shelf/cabinet 59cmdeepest cabinet 42cm total measurements 202cm H x 307cm W x 42cm DCondition reportOverall general light wear with some minor rubbing marks, light water stains and fading. No visible damage or faultsComplete with two keys for the lockable fall fronts, however no keys for the drawers.
An Art Deco silver and enamel compact by Adie Brothers, Birmingham 1933, of hexagonal form with green guilloche enamel decoration to cover, engine turned detail to reverse, 8cm wide, together with a George V silver and enamel pill box, Langstone Silver Works, Birmingham 1923, 38mm diameter (at fault), and a silver coloured pill box with abalone shell inlaid cover, 36mm wide (3)CR; Compact: Some chips to the corners of the enamel cover. Short, deep scratch to one corner, general scratching and wear to enamel commensurate with age and use throughout. A couple of minor dents to the side of the compact, moderate scratching and wear. Cover opens smoothly and closes with a snap, but does not sit completely flush. Conchoidal fracture to the bottom right of the mirror, about 1cm wide. Minor wear to the engine turned detail, general scratching and wear.Enamel pill box: Large chip to the enamel edge of the cover, 13mm wide, 4mm deep. There is another, small chip on the other side of the cover. Light denting to the edge of the cover. Heavy denting to the body, heavy scratching and wear, but no splitting or signs of repair.Abalone example: Denting to the body. Hinge is damaged, pin is bent, and as a result the cover is wobbly. Shell is in good order, no cracks, chips of losses.
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Cairo", desert series, 1984.Oil on canvas.Signed, dated and titled on the back.Size: 61,5 x 50 cm; 75 x 57 cm (frame).Josep Guinovart's work has always shown a strong link with the earth and with the harmony and relationship between the human being and his environment. In this piece the artist proposes an aesthetic that starts from the aridity of the desert, rescuing through brown and orange tones the atmosphere of the desert understood from an aesthetic lyricism.Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to embark on a frenetic activity which he would continue after his return to Spain. In the late 1950s he was a member of Informalism and always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Un cap", 1990.Oil and material on canvas.Signed and dated in the lower right corner and on the frame.Size; 100 x 81 cm; 104 x 85 cm (frame).Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to initiate a frenetic activity which he would continue after his return to Spain. In the late 1950s he became part of Informalism and was always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
LUIS FEITO (Madrid, 1929-2021).Untitled, 1956.Oil on canvas.Work published in the Catalogue of the exhibition: Feito. Work 1952-2002. Retrospective of the artist at the Museo Nacional Centro de Arte Reina Sofía, Madrid. 2002. P. 114.Presents stamp on the frame of the Egam Gallery (Madrid).Signed in the lower left corner. Signed and dated on the back.Measurements: 57 x 57 cm; 79 x 79 cm (frame).In this work the author conceives the image only through scarce colors, giving prominence to white, red and black, typical of his works of the sixties. These become aware of each other, merging to show a subtle range of shades referring to each of the colors, creating in turn a play of light and shadow that starts from the texture of the work itself. This characteristic denotes the great technical skill of the author, who not only plays with the aesthetic result but also with the symbolic charge associated with each of the colors. 56 was a year of great relevance in the artist's career, since it is when he moved to Paris and settled in the city, thanks to a scholarship. The works of this period show a great tension between the empirical and the theoretical world. Close to abstraction, his compositions still show a certain trace of the physical, which he tried to eliminate. During 1956 and 1958, his works aesthetically approached informalism, although without completely abandoning geometry.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first solo exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor of the School of Fine Arts of San Fernando in 1954, two years later he leaves teaching and goes to Paris with a scholarship, in order to study the current avant-garde movements. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most relevant artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934)."Music hall", c. 1889.Pencil on paper.Work reproduced in:- MARÍA JOSÉ SALAZAR, Catalogue Raisonné; Pablo Gargallo (1881-1934), Drawings. Volume I, p. 180. Fig. 128.Signed in the lower right corner.Size: 32.5 x 20.5 cm; 69 x 56 cm (frame).Known for his sculptural work, Pablo Gargallo not only used drawing as a support for his three-dimensional work, but also as a means of personal and independent expression. An example of this is this drawing, probably executed in Barcelona, in which he shows several young people with their backs to the viewer, awaiting a spectacle that is outside the composition. Aesthetically, a strong stylistic influence of Catalan noucentisme can be appreciated. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, as in the case of the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects in an attempt to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Throughout his life, Gargallo developed two apparently opposing styles in parallel: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experimented with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Musée d'Art Moderne in Paris and the Reina Sofía in Madrid, among many others.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Silkscreen on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, to the desired and the necessary". This is a silkscreen belonging to the book by Eduardo Chillida made up of five etchings, three woodcuts, two relief silkscreen prints, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
ISRAEL MELERO (Alfaro, La Rioja, 1986)."Grapes #12".Oil on panel.Signed in the lower right corner.With a certificate of authenticity issued by the artist. Measurements: 100 x 100 cm.A graduate in Fine Arts from the University of the Basque Country (EHU), Israel Melero furthered his artistic training with an Official Master's Degree in Artistic Production at the Polytechnic University of Valencia, as well as with a training scholarship in London, the latter through the European Leonardo Da Vinci Mobility programme. With the project "Grapes", Melero develops a meticulous, fully elaborated language, in which the artist is interested in the process linked to the experience, in painting for the sake of painting. After a period of research, Melero develops a completely effective technique, based on the elaboration of layers, working the piece from the back to the front. He makes several works at the same time in order to take advantage of the different drying times of the oil paint, with the aim of not mixing certain colours that have to remain separate. Melero makes his works from photographs taken by himself, thus having a visual reference in terms of composition, lighting and colour, also taking advantage of elements typical of photography, such as blurring or the vision offered by macro lenses through the painting. The result, completely realistic works that delve into the beauty of nature, in which Israel Melero deals with the different varieties of grapes, ripening times and their appearance according to the different light conditions. In his evolution we can appreciate a meticulous and precious treatment of light and colour, taking up the teaching of hyperrealism but filtering this legacy through an intimate optic, resulting in a very personal work in which, according to the artist himself, "painting becomes an escape valve, as an experience that brings me back to nature, to the earth, to the minimum elements, to primitive representation".
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)"Boy running".Polychrome resin, copy 27/33.Signed and numbered.Measurements: 51 x 24 x 42 cm.Presents original certificate of authenticity of the artist.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at the Museum of Contemporary Art in Barcelona in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the Museum of Contemporary Art in Barcelona.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
A First World War period bronze memorial plaque, detailed 'William James Parsons'. Note: William Parsons served with the 2nd/1st Bucks Bn. Oxford & Buckinghamshire Light Infantry, died 22nd August 1917, aged 36, and is remembered with honour on the Tyme Cot Memorial.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![* Kenneth Draper [b.1944]-Light,:- signed bottom rightinscribed and dated '92 bottom leftmixed media, 64 x 53cm.](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/9e7fb78f-9a48-4b99-8a19-ae2800cab348/468x382.jpg)
![* Steven Thor Johanneson [b.1948]-The Turn of The Tide at Hartland Light, Gulls Rising off Blagdon Cliff with Lundy Beyond,:-](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/444f540b-e96c-44ef-9408-ae2800caba17/468x382.jpg)
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