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283284 Los(e)/Seite
Los 299
A 19th century Bohemian emerald green glass vase and cover painted with a portrait of a lady, together with a pair of early 19th century Masons ironstone China vases, commemorative Macintyre match strike, Royal Crown Derby Imari plates and various ceramic animals including Beswick and SzeilerCondition report: Glass vase - with loss to the tip of the finial, some gilt loss. Pair of Masons vases with glaze crazing, both with hair cracks to the rim. Match strike is crazed. Royal Crown Derby side plate - first quality and good condition. Davenport plate - in good condition. Botanical plate - gilt wear but good condition. Royal Doulton jug - crazed. Pair of figures - the man's hat with section re-glued to the brim. Both with slight losses to the applied work. Beswick faun - slight glaze chip to front-left hoof. Both Szeiler fauns in good condition. Beswick foal and cat in good condition.
Los 368
Tristan Da Cunha, 2010 gold ''year of three kings'' 3-Coin set. 3.75g .916/22 carat gold. 3-coin set commemorating the year 1936 which saw the death of George V, the coronation and abdication of Edward VIII and the proclaimation of George VI as king. Obvs: Portrait of Elizabeth II right. Revs: Portraits of George V, Edward VIII and George VI with their respective proclaimation year to left. FDC. Encapsulated in their London Mint Office presentation box.
Los 75
5x AeAntoninianii of Aureolus (268 CE) in the the name of Postumus consisting of: FIDES EQVIT, Fides seated left, Very Fine, the portrait Extremely Fine. CONCORD EQVIT, Concordia standing left, Good Very Fine. PAX EQVITVM, Pax standing left, Extremely Fine. VIRTVS EQVITVM, Hercules standing left, Very Fine. SALVS AVG, Aesculapius standing front, leaning on a staff entwined with snake. Near Very Fine.
Los 207a
Continental printed and painted portrait miniature upon porcelain, of oval form depicting head and shoulder portrait of a young woman in pink dress with white flowers in her hair in gilt metal mount and rectangular ebonised frame with acorn and oak leaf mounted suspension ring, miniature H8cm W6cm, together with a further painted portrait miniature upon ivory, depicting a head and shoulder portrait of a gentleman, in similar ebonised frame, miniature H7cm W5.5cm, (2)
Los 237
Collection of late C19th/C20th cabinet photos, CDVs and photographic postcards, many related to Barrow in Furness and Maryport, including Rechabites street processions, Japanese portrait, Barrow dock workers group photo, HMS Kildonan Castle sweetheart postcard, other WW1 period military portraits etc (approx. 75)
Los 544
English School (C20th); Shepherd and flock by a river at sunset, oil on canvas, 30.5cm x 38cm, Lakeside houses by moonlight, oil on canvas, 30cm x 38cm, Portrait of a young Lady in European dress, oil on canvas, 38cm x 30.5cm, Moonlit seascape, oil on board, 24cm x 30cm, Figures by the Thames with Windsor Castle in the Distance, 16cm x 35cm, and Children by the Fireside, signed 'Popplewell', 25cm x 19cm (6)
Los 74
9ct yellow gold chain link bracelet, Birmingham import marks, 9ct yellow gold fancy chain link necklace, London import marks (AF) 4.5g, two seal fobs mounted in yellow metal, a yellow mourning brooch with vacant panel, inscription dated 1838, a single 9ct gold hoop earring stamped 375, and a yellow metal portrait pendant
Los 1357
Circle of Frans Hals (Dutch 1582-1666), half length portrait of a seated lady wearing a bridal stomacher, lace diadem and starched linen collar, inscribed 'Aetati 31, Ad 1622', oil on copper, 15.9 x 12.3cm, in a tortoiseshell and ebonised ripple moulded frame. This portrait closely resembles Frans Hals 1625 portrait of Aletta Hannemans in The Mauritshuis, The Hague and his 1620 portrait of Catharina Both van der Eem in The Louvre, Paris.
Los 54
Folio Society, collection of 45+ titles including Cicero "Orations" in original shrink wrap; J.E. Gordon "Structures" in original shrink wrap; Joyce " Portrait of the Artist as a Young Man"; Victorian Trilogy by Asa Briggs, 3 volumes in original shrink wrap; Richard Fortey "Life" in original shrink wrap, etc (45+)
Los 329
Oil on canvas, with important frame of the time. Framed measures 53 x 44 cm, canvas measures: 34 x 29 cm. It is accompanied by a comparative technical report. Exceptional discovery of the oil version "Portrait of a Young Lady" of which only the pastel version was known from a New York private collection and auctioned at Christie's in 2010. Jean-Baptiste Greuze (1725, Tournus – 1805, Paris) After studying painting at the Grandon workshop in Lyon, Greuze moved to Paris in 1750 and entered the Royal Academy of Painting and Sculpture as a student of Natoire. His popularity was confirmed by other paintings of a melodramatic nature, depicting young peasant scenes from the provinces. One of his biggest artistic supporters was Diderot; art critic gave a glowing praise of his painting for the moralism of his images. Among his greatest successes may be mentioned The Village Wedding or Acordée de village presented at the salon of 1761, where he once again shows a bourgeois rural interior. Among his outstanding works, "Father of the family explaining the Bible to his children", made in 1755, as well as also known as "The death of the paralytic" of 1763, a painting that represents an elderly father on his deathbed surrounded by of his family. This painting is related to Jean Jacques Rousseau's novel, “La nouvelle Héloïse”, published that same year. After achieving great success with the public and critics, he began to harvest history painting, a genre of higher rank within official painting. His first work in this order is the so-called Seventh-Severe. Contrary to what he was looking for, this piece was a source of conflict with the Academy, since not only was it not accepted into the competition, but it also earned him the enmity and devastating criticism of Denis Diderot. Greuze painted numerous portraits and received much criticism for his paintings of a libertine character. The French Revolution of 1789 made neoclassicism fashionable and Greuze's paintings fell out of fashion, forcing him to live off his classes as an art teacher. The portrait of Napoleon Bonaparte, which he commissioned in his last years, did not prevent him from spending his last years in poverty. Likewise, Greuze harvested the allegorical theme, being outstanding the Offering of love (1769), mythological: Danae; or also religious, such as Santa María Egipciaca. WORKS IN COMPARISON: "Portrait of a Young Lady" in pastel on paper, Christie's, January 27, 2010, lot 145. Provenance: former private collection, Spain.
Los 34
MOÏSE KISLING (1891-1953)Portrait de jeune fille signed, inscribed and dated 'Kisling Paris 1947' (upper right)oil on canvas41.2 x 27.2cm (16 1/4 x 10 11/16in).Painted in Paris in 1947Footnotes:The authenticity of this work has been confirmed by Jean Kisling and Marc Ottavi. This work will be included in the forthcoming Volume IV et Additifs aux Tomes I, II, et III of the Moïse Kisling catalogue raisonné, currently being prepared.ProvenanceLeon Bagrit Collection, UK.Thence descent to the previous owner.Private collection, UK (a gift from the above).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 13
SEGUNDO MATILLA MARINA (Madrid, 1862 - Teiá, Barcelona, 1937)."Female portrait".1888.Oil on canvas.Signed and dated in the right margin.Paint losses and cuts. Stucco stains.Measurements: 56 x 46 cm.Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied Fine Arts at the Lonja de Barcelona, under the direction of Antonio Caba. He took part in numerous exhibitions, including the Barcelona International Exhibition in 1891, 1894, 1896 and 1898 (honourable mention in 1891), the Barcelona Art Exhibitions of 1918 and 1919, and the Paris Salon of 1897. That same year he received an honourable mention at the National Exhibition of Fine Arts in Madrid. His solo exhibitions include those held at the Salón Vilches in Madrid (1915) and, in Barcelona, at the Sala Parés (1914) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués brought him great public and critical acclaim. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and painting technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape and marine painter, painting portraits of great quality, especially of people from the world of show business, and his vases and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. His work can be found in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum, the Pablo Gargallo Museum in Saragossa and the National Art Museum of Catalonia, as well as in important international private collections.
Los 26
NICOLÁS RAURICH Y PETRE (Barcelona, 1871 - 1945)."Self-portrait of Francesc Gimeno with pipe".Oil on panel.Signed and dedicated "Del teu autorretrat, però amb pipa" on the back.Measurements: 50 x 38 cm; 64,5 x 52,5 cm (frame).Nicolás Raurich trained at the Escuela de Bellas Artes de la Lonja in Barcelona, where he was a disciple of Caba, Rigalt and Meifrén. In 1892 he took part in an exhibition at the Sala Parés and also at the National Gallery in Madrid. In 1894 he obtained his first official success with the gold medal at the IV Centenary of the Discovery of Puerto Rico. He furthered his studies in Rome between 1895 and 1899, where he became friends with Enric Serra. He completed his studies in London and Munich, and after a short stay in Paris he travelled around Castile, influenced by the Generation of '98 and his taste for the arid landscape of the high plateau. In 1910 he took part in the first exhibition of Les Arts i els Artistes in Barcelona, and in 1919 in the Exposition d'Art Espagnol in Paris, where the Musée du Luxembourg (the future Musée d'Orsay) acquired one of his works. As an illustrator, his contributions to the weekly magazine "Blanco y Negro" were particularly noteworthy. He submitted his works to numerous national and international exhibitions, and was awarded prizes at the National Exhibition in Madrid (honourable mention in 1892 and second medal in 1897), honourable mention at the Salon de la Société des Artistes Français in Paris in 1900, and first medal at the International Exhibitions of Athens (1903) and Barcelona (1907), as well as at the International Exhibition of Arts and Industries in Mexico in 1910. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo de Arte Moderno in Madrid and the Musée d'Orsay in Paris.
Los 66
RAMON CASAS CARBÓ (Barcelona, 1866 - 1932)."Portrait of a lady.Pastel on paper.Signed in the lower right corner.With "Pèl i Ploma" stamp in the lower right-hand corner.Size: 33 x 25 cm; 56 x 47 cm (frame).Drawing made by Ramon Casas for the artistic and literary magazine "Pèl i Ploma", of which 100 issues were published between 1899 and 1903. Casas himself financed its publication and was its artistic director and main illustrator, while Miquel Utrillo was in charge of the literary section and Emilio Galcerán was in charge of the administrative side. It was one of the most representative magazines of Catalan Modernisme, a driving force behind this movement and a platform for the dissemination of modern art. In this work Casas depicts an elegant lady dressed in the bourgeois fashion of the turn of the century, with a fox fur collar. It is an image charged with instantaneity, typical of the female representations of the Catalan school of the late 19th century. It combines the formal sensuality of the sinuous and expressive line, typically modernist, with the great realism with which a strictly contemporary image has been captured. It is a work closely linked to the graphic design of the period; the expressive linearity, the sobriety of the colours and the attention to current themes coincide with the features of posters and illustrations for magazines.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.
Los 70
VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Portrait in front of a Basque landscape".Oil on canvas.Signed in the lower right corner.Size: 31 x 36 cm; 48 x 53 cm (frame).An old woman holds on her lap a big pitcher, opening behind her a mountainous landscape. This is a frequent type of composition in Valentín Zubiaurre's painting, which allowed him to ennoble both the inhabitants of rural areas and the Basque landscape. The intense chromatic contrast, with its twilight shifts, and the expressiveness of the old woman's weathered face are characteristic of this artist, who (together with his brother Ramón) was a renovator of Spanish regionalism.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, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. 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. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts 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 in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned 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 77
RAMÓN CASAS CARBÓ (Barcelona, 1866 - 1932)."Julia".Pencil drawing on paper.With testamentary signature in the lower left-hand corner.Size: 37 x 30 cm; 67 x 58 cm (frame).In this work Ramón Casas presents us with a portrait of Julia Peraire, the artist's undisputed muse, with whom he established the only known lasting sentimental relationship and whom he would end up marrying in 1922. Casas was the master of modernist drawing in Catalonia, sensual in line and expressive in equal measure, delicate and subtle, endowed with a very special sensitivity. In this work, the draughtsman's line becomes precise and hurried in the face, modelling it delicately, using a faint play of half-shadows that focuses the viewer's attention precisely on it. This is reinforced by Julia's enigmatic expression, who looks directly at us, squinting her feline eyes and smiling proudly. This sketchy character of the lines creates the illusion of a radiant image, full of light, triumphant despite the absolute simplicity of the composition.The female figure was the main protagonist of Ramón Casas's work, both in painting and illustration. The master shows us his personal sensual and decorative vision of the female figure, in representations that always go beyond the simple reproduction of reality to reflect powerful personalities, often defiant, strong women who are always elegant and seductive. Specifically, in this drawing Casas shows his affinity with some of his contemporaries, especially Toulouse-Lautrec who, like him, knew how to make the oriental language of the line his own, expressing himself through subtlety, the elegant and moving stroke and the evocative power of the void.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.
Los 136
Persia.- Compleat History of Kouli Kan (The), (At present called Schah Nadir) Sovereign of Persia, first English translation, engraved portrait frontispiece, folding engraved map, tiny marginal worm hole to last few leaves, one or two leaves lacking corners, bookplate, contemporary calf, rebacked retaining original backstrip, slight bumping to corners, 12mo, for J. Brindley ..., 1742.⁂ According the ESTC this is sometimes erroneously attributed to Jean Antoine Du Cerceau.
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283284 Los(e)/Seite