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Los 596
SALVADOR DALÍ1904 Figueres, Girona - 1989 ebenda'PORTRAIT DE CALDERÓN' (1971) aus: Calderón, La Vie est un Songe Farbradierung mit Aquatinta auf Papier. DM 35 x 31 cm (R. 81 x 61 cm). Unten recht handsigniert 'Dalí', unten links Exemplarnummer '11/250'. Gebräunt, leicht fleckig. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Literatur: Michler-Löpsinger 515 a. Provenienz: Privatsammlung Köln.
Los 312
dating: First half of the 20th Century provenance: Ethiopia, Curved blade with fuller and floral engravings. Remains of antique nickel plating. Tang with short Amharic inscription, portrait of the Negus and the Lion of Judah. White, nickel-plated metal hilt. Hilt with crack. Cap shaped as a lion's head. Complete with its typical tribal leather scabbard with old handwritten inscription 'Adi Gul Negus (Endertà) 12-3-936 - A.O.I. -'. Interesting. The battle of the Enderta was fought between the Ethiopian forces and the Italian invasion army between February 10th and 19th 1936 during the Ethiopian War. length 89 cm.
Los 101
Artists’ book belonging to Mme. Jalbert, owner of the famous Parisian brasserie "Le Sélect" in Montparnasse, frequented by intellectuals and artists from its opening in 1923.It contains 11 works of art on paper by: - Honorio García Condoy (Zaragoza, 1900 - Madrid, 1953) "Bañistas" (Women bathing) Ink drawing on paper. Signed and dated 1950. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - Oscar Domínguez (La Laguna, Tenerife, 1906 - Paris, 1957) "Caballero" (Gentleman) Watercolour and ink on paper. Signed and dated 1950. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - Rafael Zabaleta (Quesada, Jaén, 1907 - 1960) "Still life" Ink drawing on paper. Signed and dated 1950. 31,8 x 24 cm. - Pedro Flores (Murcia, 1897 - Paris, 1967) "Caballero" (Gentleman) Wax crayon, felt tip pen and pencil drawing on paper. Signed, dated 1950 and situated in Paris. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - European School. 20th century. "Personnel" Gouache on paper. Signed. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - European School. 20th century. "Mount Golgotha" Ballpoint pen drawing on paper. Signed. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - Dedication from the Comédie Française actor André Falcon. May 1951. - Gabriel Khon (1910 - 1975) "Portrait" Ballpoint pen drawing on paper. Signed and dated 1951. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - Jean Cortot (1925 - 2018) "Landscape" Ink drawing on paper. Signed and dated 1951. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - European School. 20th century. "Portrait" Charcoal drawing on paper. Signed. 31,8 x 24 cm. - Man Ray (Philadelphia, 1890 - Paris, 1976) Ink drawing on paper. Signed and dated April 1951. 31,8 x 24 cm. Dedicated to Mme. Jalbert. - Ossip Zadkine (1890 - 1967) "Guitarist" Ink drawing on paper. Signed and dated 23rd December 1950. 31,8 x 24 cm.
Los 144
Pablo Ruiz Picasso (Malaga, 1881 - Mougins, 1973) "Portrait d'une bourgeoise Hollandaise coiffée d'un bégun" (Portrait of a bourgois Dutch woman wearing a bonnet) Suite 347. Drypoint etching. Signed in pencil and numbered 49/50. Facsimile signature on the back: '10.8.68.III'. Sheet measurements: 32,6 x 25 cm. Print measurements: 12 x 9,2 cm. Printed by Aldo and Piero Crommelynck and published by Galerie Louise Leiris, Paris. Bibliographic references: Baer 1986-96 / "Picasso Peintre-Graveur". Bloch 1974-9 / "Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié"
Los 263
Veith, Eduard(1856 - 1925)DamenporträtÖl auf HolzSigniert rechts unten73 x 57,8 cmgerahmtEduard Veiths Motive und die Belichtung lassen Stilmerkmale der Art Nuoveau und der Wiener Kunstszene um die Jahrhundertwende 1900 festmachen. Auch das vorliegende Portrait verdeutlicht auf einer doch sehr malerischen Weise die romantischen Formen in einem Ölgemälde zusammengefasst.
Los 89
JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Amazona".Oil on canvas.Signed in the lower left corner.Attached label of the Barbié Gallery and Barrachina's label.It presents light Greek in the upper right corner.Measurements: 56 x 45 cm; 85 x 74 cm (frame).Cusachs captures here an equestrian portrait far from the rigour of the genre, seeking to transfer to the canvas a piece of everyday life, of reality. This is particularly reflected in the way he captures the movement of the horse, at a walk, with two legs raised and its head lowered to form an elegant curve. The lady, dressed in the clothes of a mid-19th century horsewoman, elegantly maintains her composure.José Cusachs was accidentally born in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that became Cusachs's favourite. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, always obtaining great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is housed in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería de Valladolid, the Galería de Capitanes Ilustres of Barcelona City Council and prominent private collections, such as the Santiago Gramunt collection.
Los 87
VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879-1963)."Segoviana con bola dorada", ca.1915-1920.Oil on canvas.Signed in the lower right corner.Bibliography: Revista Plus Ultra, nº 55, year V. Buenos Aires, 1920.Size: 60,5 x 47 cm; 86 x 73 cm (frame).The retrospective and nostalgic look, full of tenderness, towards the regional roots that Valentín de Zubiaurre expresses in his paintings is on this occasion enhanced by the baroque resource of the crystal ball. It should be remembered that the reflecting sphere was used in the 17th century to enhance the complexity of perspective and the play of gazes, but also to allude to the passage of time. Pieter Claesz used it in both senses in his still lifes. The ball held by the old woman portrayed by Zubiaurre contains on its convex surface the self-portrait of the painter in his studio, the same resource used by Claesz in "Still Life with a Glass Sphere" (a canvas now in the Germanisches Nationalmuseum in Nuremberg), an image that the glass transforms into a spectral one, into pure memory, into indelible remembrance. This lends great expressive power to the painting as a whole. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, an art with a Romantic, costumbrista heritage and a realistic, meticulous style, which focused on depicting subjects, themes and characters reflecting a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. They attended classes at the Académie Julian and became acquainted with modern trends, but were not permeable to their influence, mainly due to the weight of their academic training and their admiration for both the Flemish and Italian primitives and contemporary Spanish painters such as Darío de Regoyos and Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Fine Arts Exhibitions and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions and won prizes at important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco and San Diego. From the 1920s onwards, the Zubiaurre brothers experienced their most successful period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
Los 18
JOSÉ DENIS BELGRANO (Málaga, 1844 - 1917).De paseo" ("On a stroll").Oil on panel.Signed in the lower right corner.Size: 30 x 20 cm; 45 x 36 cm (frame).With the type of scenes like the one we present here, set in an eighteenth-century and aristocratic environment, Denis Belgrano renewed the genre of house painting. A notable exponent of the Malaga school of the second half of the 19th century, much admired and respected in his day and highly valued today, José Denis was born into a bourgeois family and excelled in painting from an early age. His precocious talent attracted the attention of the Marquis of Guadiaro, Carlos Larios, who granted him a pension which enabled him to continue his studies in Rome between 1862 and 1864. Until then he had been self-taught. During his stays in Rome (he made a second trip in 1875) he became acquainted with the work of Mariano Fortuny, whose influence would from then on be very present in his painting. When Bernardo Ferrándiz returned to Malaga, Denis entered the city's School of Fine Arts as his pupil in 1868. On his return from his second trip to Rome, Denis was already a fully established painter. He then received important commissions such as the decoration of the Heredia Palace, the ceiling of the Liceo Artístico in Malaga and a portrait of the Infanta Mercedes of Orleans, the future wife of Alfonso XII. At the same time he held successful exhibitions of his work, both oil paintings and drawings and watercolours, and in 1887 he joined the teaching staff of the San Telmo School of Fine Arts in Malaga, where he was appointed a member in 1910. He also took part in official exhibitions such as the National Exhibition of Fine Arts in Madrid in 1887. Denis was particularly noted for his costumbrista themes, although he also produced bullfighting and gallant subjects and portraits. Works by Denis are housed in the Malaga Museum of Fine Arts, the Diocesan Museum of Sacred Art in Malaga and the Unicaja Collection.
Los 21
FRANÇOIS-RAOUL LARCHE (France, 1860-1912)."Vingt ans", ca.1900.Bronze sculpture.Signed on the base.Size: 90 x 25 x 25 cm.Son of the sculptor Guillaume Larche, F.R. Larche's sculptural work oscillated between two styles, neo-baroque and modernist. After attending the Ecole Nationale des Arts Décoratifs, he was admitted to the Ecole Nationale Supérieure des Beaux-Arts in Paris, where he was a pupil of François Jouffroy, Auguste Dumont, Alexandre Falguière, Jean-Léon Gérôme and Eugène Delaplanche.He started at the Salon des Artistes in Paris in 1884 and exhibited regularly until 1911. In 1886, he won the second Grand Prix de Rome for sculpture. Larche's output includes various figures of Christ, although he is best known for his numerous female figures, be they knots or women in beautifully draped dresses. Larche was one of the many artists inspired by the dancer Loie Fuller. One of his best known works is a portrait of Fuller in one of her characteristic serpentine dance dresses. Another of his most famous pieces is the symbolist sculptural group entitled Les Violettes.
Los 24
Italian school, late 19th century."Portrait of a lady.Oil on canvas.Original canvas. Perforations and slight faults.Measurements: 56 x 51 cm; 60 x 55 cm (frame).Female portrait, in profile and solved in realistic language, looking for the psychological capture as well as the capture of the social status of the lady, who belongs to the high bourgeoisie. She is wearing a white shirt with a turquoise cabochon studded with diamonds at the high neck.
Los 61
JOSÉ MONGRELL TORRENT, (Valencia, 1870 - Barcelona, 1937)."Portrait of a Lady, 1894.Oil on canvas.Signed and dated in the lower right corner.Measurements: 56 x 38,5 cm; 80 x 63,5 cm (frame).José Mongrell studied at the School of Fine Arts of San Carlos in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master what helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
Los 91
GUSTAVO BACARISAS (Gibraltar, 1873 - Seville, 1971)."Lady with a Fan in the Albaicín", 1922.Oil on canvas. Relined.Attached certificate of authenticity issued by Doña Elsa Jernas, the artist's widow.Work reproduced in the catalogue; Gustavo Bacarisas (1873-1971), Anthological Exhibition. Seville Palacio Mudejar, 1972.Provenance: Elsa Jernas.Preserves early 20th century frame.Measurements: 100 x 80 cm; 118 x 98 cm (frame).In this work the artist represents a seated girl, holding a fan and looking at the spectator with a broad smile. The young woman is set in a landscape depicting a nocturnal view of Aracena (Huelva). This portrait, which has a costumbrista heritage, is dominated by the presence of blue, which was a characteristic tone in Bacarisas's painting, to such an extent that it became one of his personal hallmarks, thus approaching a more symbolist and Noucentist aesthetic trend. This work reveals all the pictorial aspects that defined the painting of Bacarisas, who was one of the most important painters of the early twentieth century: the aforementioned blue tone, the nocturnal landscape for which he felt a predilection and the figure of women with Flemish features were indisputable hallmarks of his lyrical and joyful painting.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training on a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913). As a Briton, he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
Los 116
JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)"Sailor boy".Oil on canvas.Signed in the lower left area.Measurements: 84,5 x 71 cm.During the 19th century, beginning of the 20th century, the child portrait began to gain more prominence, extending from the nobility to the bourgeoisie. This fact was largely due to a change in education, and in the way in which the relevance of children in the family environment was conceived. For this reason it is not surprising to see a play like this one, in which the boy is the sole protagonist of the scene, unaccompanied by his parents.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He went to Sitges in 1910, at a time when his style had gradually lost its post-impressionist influences and was moving towards Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the forefront of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974 to commemorate the centenary of his birth. As an easel painter he was the most representative of "noucentisme". His landscapes and female nudes were particularly outstanding, as were his portraits, which were far removed from traditional painting. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.
Los 95
JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937)."Marina".Oil on canvas.Signed on the left side.Measurements: 50 x 70 cm; 81,5 x 102 cm (frame).The influence of his mentor Joaquín Sorolla can be appreciated in this magnificent painting by José Mongrell, but what is striking is a way of resolving the composition in which he himself was a master: with audacity, Mongrell has superimposed different levels of reality, from the fishermen's wives waiting in the foreground for their husbands to the bathers in the background, passing through the high society lady who enjoys a pleasant summer day. The framing is almost photographic, as it cuts out the boat on which the young woman is leaning with her basket, waiting to fill it with fish. On the left, the oxen can be glimpsed, ready to load the boats that are to dock on the coast. Multiple scenes are interwoven in the painting, worked with different levels of chromatic and luminous definition, in a faithful atmospheric rendering of the different planes. Valencian luminism reaches the highest levels here.José Mongrell studied at the San Carlos School of Fine Arts in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He achieved artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
Los 1
Blunt (Wilfrid Scawen) The Land War in Ireland, first edition, signed presentation inscription from the author to the Franciscan Library at Crawley to endpaper, frontispiece portrait with light offsetting onto title, ink library stamp to title and endpaper, remains of label to endpaper, original buckram-backed boards, light toning to covers, 1912; Poetical Works, 2 vol., first edition, signed presentation inscription from the author as "Proteus" to endpapers, original cloth, light sunning to spine, light rubbing to extremities, 1914; and 3 others, Blunt, 8vo (6)
Los 12
Gregory (Isabella Augusta, Lady).- Mr. Gregory's Letter-Box, 1813-1830, edited by Lady Gregory, first edition, William Robert Gregory's copy with his ink ownership inscription to endpaper dated 4/3/'98, frontispiece portrait, title a little browned, some light marginal marking, 2 tipped-in newspaper clippings towards end, upper hinge weak, original cloth, light rubbing and fraying to spine tips and corners, 1898 § Hull (Eleanor, editor) The Poem-Book of the Gael, first edition, Lady Gregory's copy with her bookplate to front pastedown, and Autograph Note "With the author's compliment" tipped onto front free endpaper, original cloth, dust-jacket, some creasing and fraying to head and foot, 1912 § [Boyd (Ernest Augustus)] The Worked-Out Wad. A Sinn Fein Allegory, first edition, Lady Gregory's copy with her ink ownership inscription to title, browning to text, original wrappers, light toning, Talbot Press, 1918; and 8 others, Lady Gregory, including a Gregory family photograph and scrap album of children at Coole Park, 8vo & 4to (11)
Los 129
Lawrence (D.H.) Apocalypse, first edition, number 71 of 750 copies, portrait frontispiece, bookplate, original boards, lightly sunned spine, dust-jacket, small hole to spine, small tears to extremities, sunned spine and edges, a little rubbed, Florence, G. Orioli, 1931 § Bradbury (Ray) The October Country, first English edition, illustrations, previous owner's ink inscription, original cloth, dust-jacket, a little rubbed, fractional creasing to spine extremities, 1956 § Conrad (Joseph) Suspense, first edition, half-title, frontispiece, faint spotting, original cloth, slight bumping to spine extremities, dust-jacket, loss to spine extremities, upper flap detached but present, creasing to top edge, rubbed, 1925; and 2 others, first editions, (5).
Los 176
Owen (Wilfred) Poems, first edition, photogravure portrait frontispiece with tissue guard, endpapers browned, original cloth, very light fading and soiling, spine ends bumped, but still overall an excellent copy, 4to, 1920.⁂ A remarkably crisp copy of this post-humously published collection of Owen's best-known war poems. Published by Seigfried Sassoon after Owen's death includes "Dulce et decorum est", "Insensibility", "Anthem for Doomed Youth", "Futility" and "Strange Meeting".
Los 3
Cousins (James H.).- Heroic Romances of Ireland, translated by A. H. Leahy, 2 vol., first edition, James Cousin's copy with his ink ownership inscriptions to front pastedowns and his notes and annotations to vol. 1, some light spotting, 4pp. typescript "The Exile of the Sons of Doel Dermait" loosely inserted, original cloth, spines a little darkened, spine ends and corners a little bumped and frayed, 1905 § Cousins (James H.) Wandering Harp. Selected Poems, first American edition, presentation inscription "from the author" to front free endpaper, portrait frontispiece, light browning to title, spine ends and corners a little bumped, New York, 1932, 8vo (3)
Los 429
Marino Marini, (Italian, 1901-1980) - Gouache and watercolour on paper - 'Ritratto', a portrait, signed 'Marino' lower right, dated 1944 lower left, 40.5cm x 32cm, in black card mount and gallery frame, glazedEx Sotheby's Impressionist & Modern Art and Works on Paper, Part Two, 6th May 2004, lot 460ExhibitedBern, Kunstmuseum, Plastiksammlung Werner Bär, 1959, no. 146LiteraturePatrick Waldberg, Marino Marini, Complete Works, Milan, 1970, p. 396, no. 30, illustratedLorenzo Papi, Marino Marini Pittore, Turin, 1987, p. 36, no. 69, illustratedThe edges of the paper are rough-cut as per images. The work has been reframed in a 'gallery' frame, which has a very light indentation (from storage) to top edge. It is glazed with perspex or similar rather than glass.Otherwise no condition issues detected. From a private collection near London.
Los 167
Erotica - French tortoiseshell, green lacquer and white metal snuff box, circa 1800, of circular form with push-on cover, centred by an oval bust portrait of a lady in plumed bonnet, within hinged white metal surround, opening to reveal a 'secret' erotic panel of a cavorting couple, 7.8cm diameter
Los 122
Edwin HARRIS (1855-1906)Portrait of a Young GirlOil on canvas, linedSigned35 x 27.5cmThis charming work is in very good condition. It has had some light restoration recently by an expert hand, this comes in the form of a small area of over painting. A couple of minor areas or re-touching can be seen under UV and very light craquelure when viewed close up (please see additional photograph).
Los 270
Frank Meadow Sutcliffe, Whitby, late Victorian cabinet card portrait photograph of a young lady seated in an armchair,photographic portrait of a bearded gentlemen, 2 Carte de Visite and other cabinet cards, photographs and Carte de Visites, by various local photographers inc. Whitby, Scarborough, Darlington, Bishop Auckland and others, together with 3 Victorian family bibles
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283284 Los(e)/Seite