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Lot 271
EMPIRE EXHIBITION 1938 / SCOTLAND Three items: Official Lettercard - 6 Views in Art Colour issued by Valentine & Sons and Souvenir Empire Exhibition Scotland 1938 - 12 Views, issued unknown and a LMS Railway Handbill for 27/5/1938 Day Excursion to the Exhibition in Glasgow, minor wear. Fair to generally good
Lot 14
Indiana, Robert(1928 - 2018)Chosen LoveTeppichHandsigniert und nummeriert Verso: 140/175242 x 242 cmIndiana sah die Ästhetik in der Einfachheit der Dinge. Er schaffte es Buchstaben sowie Zahlen zu reinster Kunst aufzuwerten, jedoch die funktionale Form - allerdings auf einer anderen Ebene - davon beizubehalten. Bei dem Exponat handelt es sich um einen perfekt quadratischen, großformatigen Teppich, der wirklich jedes zu Hause als Eyecatcher aufwerten kann. Er befindet sich in einem hervorragenden Zustand und wurde Handgemacht in Israel. Der Designer-Hingucker kann am Auktionsmarkt bis zu 27.000 Euro erzielen und ist im ikonischen Kolorit des Pop Art versehen.
Lot 114
ISABEL VILLAR ORTIZ DE URBINA (Salamanca, 1934).Untitled.Lithograph on paper. Copy 102/125.Provenance: Private Collection of Luis García Berlanga.Signed and justified in pencil.Size: 24 x 33,5 cm; 27 x 38 cm (frame).A painter, sculptor and engraver, Isabel Villar began her training at the San Eloy School of Fine Arts, and later moved to Madrid to continue it at the San Fernando School (1952). In the capital she joined the group La Cepa, and in 1957 she made her name in a group exhibition held at the Casa de Salamanca in Madrid. The following year he made his individual debut in the Sala Miranda in his native city, where he returned after finishing his studies, joining the Koiné and Tormes groups. After a stay in Santander he returned to Madrid for good, and there he took part in important group exhibitions until 1971, when he presented himself individually for the first time in that city. His work is currently represented in the MNCA Reina Sofía, the Museums of Contemporary Art of Elche, Toledo, Seville, Villafamés and Santa Cruz de Tenerife, the National Library of Madrid, the Testimoni collection of La Caixa, the Vatican Museum and many other collections, both public and private.
Lot 17
CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Landscape", 1979.Oil on canvas.Signed in the lower right corner. Signed with initials and dated on the back.Size: 46 x 55 cm; 69 x 77 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
Lot 21
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Rue de Montmartre".Oil on canvas.Signed in the central right area.Size: 46 x 64,5 cm; 57 x 75 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, who had just landed in the French capital in 1906. Scenery such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine river were masterfully immortalised by Maclet through a Post-Impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of Montmartre life in 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting which earned him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after the First World War, and he maintained this success for the rest of his career due to the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer Dosbourg bought some of his first Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which sometimes recall Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its exhibition "Paintings of the 20th Century"; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, in time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany and Venezuela, as well as a major exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Today, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
Lot 37
WILLIAM ETTY (York, Great Britain, 1787 - 1849)."Young woman at Rest, 1828.Oil on canvas glued to panel.It has craquelure and restorations on the pictorial surface.There are losses and damage to the frame.Signed and dated in the lower right area.Measurements: 57 x 78 cm; 75 x 96 cm (frame).No British painter of historical subjects has devoted himself to the representation of the human form as assiduously as William Etty, and in particular to the female nude. Among his contemporaries, who marvelled at the depth and corporeality of his figures, he was known and highly praised for his ability to capture the human form and reproduce flesh tones. Etty was born in York and left school at the age of twelve to work as an apprentice in a print shop. He completed his apprenticeship after seven years and moved to London, where in 1807 he began training at the Royal Academy under Thomas Lawrence. Despite the admiration of his contemporaries for his technical skill, such as his friend John Constable, Etty struggled to gain public recognition early in his career, and it was not until 1821, with the exhibition of Cleopatra's Arrival in Cilicia (National Museums Liverpool) at the Royal Academy, that he finally received the acclaim he craved. Critics marvelled at Cleopatra's "languid, exuberant beauty" and described the painting as belonging to the "highest class" of art. Etty followed this success by exhibiting a succession of important mythological works over the next few years, which established Etty as one of Britain's most important historical painters in the early 19th century. With the advent of the twentieth century, Etty's important contribution to British art had been almost entirely forgotten, and an Arts Council exhibition in 1954 sparked only a brief revival of interest. Today, however, unfettered by the dictates of 19th century artistic discourse and morality, we can appreciate the beauty of Etty's art for what it is. As explored in the recent exhibition "William Etty: Art & Controversy" at the York Art Gallery, Etty's art was the result of a lifetime of serious engagement with the traditions of European painting, dedication to the study of the pattern of life, and commitment to an independent artistic spirit.
Lot 65
JULIO BORRELL PLA (Barcelona, 1877 - 1957)."Woman among jugs".Oil on canvas.Signed in the lower left corner.Size: 120 x 90 cm; 136 x 103 cm (frame).The laughing blonde portrayed by Borrell in this painting exudes sensuality but without any mannerism, her gaze being jovial and complicit with that of the painter. Borrell is also skilful in capturing her temperament, and does not neglect the casual arrangement of jugs and vases around the body cut out of the wooden door.The son and disciple of Pere Borrell del Caso, Julio Borrell trained at the Sant Jordi School of Fine Arts in Barcelona. From his father he was influenced by the Nazarenes Claudio Lorenzale and Pablo Milà i Fontanals. In 1888, at the age of eleven, he entered a canvas in the Barcelona competition for the Universal Exhibition, together with his brother Ramón, also a painter. From 1894 onwards he took part in almost all the official exhibitions held in Barcelona and Madrid, and was awarded an honourable mention in 1897. That same year he was awarded a second medal at the exhibition in Arcachon, France. His name had a special resonance throughout his exhibitions at the Sala Parés in Barcelona between 1915 and 1920. His extensive output included both oil and pastel works, and covered a wide range of subjects. The theme he most cultivated was that of the classic Spanish maja, the women in mantilla and comb, depicted in his personal sensorial style, with extraordinary skill and great mastery of draughtsmanship. Among his many paintings, some of which have been widely reproduced, mention should be made of "El viático al Liceo", "Lavapiés en Jueves Santo", "Bodas reales", which he painted on behalf of King Alfonso XIII, "Luna de miel", "El triunfo del cristianismo", etc. He also devoted himself to decorative painting, producing religious murals for the church of San Francisco in Buenos Aires and the dome of the Basílica de la Merced in Barcelona, which was destroyed in 1936. Throughout his career, Borrell held numerous solo exhibitions in various Barcelona galleries and took part in group exhibitions and competitions. Many of his works are on display at the MACBA, as well as at the National Art Museum of Catalonia and others.
Lot 68
EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."In the garden".Oil on cardboard (fan country).Signed in the lower left corner.Measurements: 22 x 62 cm; 46 x 79 cm (frame).Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs Elysées for several years, with works of a literary and genre nature and some portraits. On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.
Lot 7
JOSÉ PUYET PADILLA (Málaga, 1922 - Madrid, 2004)."Oriental", 1974.Oil on canvas.Signed in the upper right corner. Signed, dated and titled on the back.Measurements: 101 x 81 cm; 120 x 101 cm (frame).The grandson of the famous master José Padilla, Puyet took a keen interest in painting from his childhood, initiating himself with his grandfather in the use of pencils and oil paints. When the Civil War broke out he was fourteen years old, and by then he was working as an apprentice in an English insurance company. At the age of twenty he was sent to Melilla to do his military service, and there his superiors soon realised his artistic potential. They began to relieve him of guard duty so that he could portray the relatives of senior officers in the barracks, a fact that strengthened Puyet's confidence in his brushes. On his return he went to Madrid, where he began his career as an occasional portrait painter, among other diverse jobs such as advertising illustration for important firms like Mirurgia and Gal. At the same time he was part of the decoration team of the Samuel Bronston studios, painting backgrounds for films with the most varied themes, from Roman countryside to the arid lands of the American West. During these years he also made himself known at various exhibitions in Madrid, including the group shows at the Círculo de Bellas Artes. It was there that he met the man who was to become his definitive driving force: Mr. Cano, the gallery owner who proposed his first individual exhibition. Since then, and given the success of the exhibition, he held more than forty exhibitions until the gallery closed. Simultaneously, Puyet exhibited his work in Barcelona, Valencia, San Francisco, New York, Montreal, Miami, Monterrey, Houston, Boston, Hamburg, Berlin, Munich and Milan, among other cities. In 1984 he became a member of the prestigious American publication "Who's who in Art". In December 1988 he was appointed member of the Royal Academy of Fine Arts of San Telmo in Malaga. Puyet is currently represented in important collections such as those of the Duchess of Alba, the Grimaldi family, Juan March, Plácido Domingo, etc.
Lot 78
EDOUARD HALOUZE (France, 1895-1958)."Parisian Characters", ca. 1920.Watercolour and gouache on paper.Signed in the lower right corner.Work published in the Gazette du Bon Ton.Size: 25.5 x 20.5 cm; 38 x 33 cm (frame).Edouard Halouze uses in this composition a plastic art of clear modernist roots, based on fluid lines and nuanced colours, a completely personal style at the level of the great artists of the Paris of the moment. Halouze presents us with an elegant couple, caught in a moment of leisure, possibly on their way out of the theatre, judging by their elegant clothes. The male figure wears a long morning coat and top hat, has a neat, upturned moustache and holds a walking stick in his right hand; the girl wears a long dress to match her hat, high and with a mottled veil decorated with a large bow. The two are walking towards the carriage waiting in front of them, while a small poodle prances through the streets of early 20th-century Paris. The modernist school focused its attention on the contemporary urban world rather than on the literary symbol. What stands out in this work is the impression of transience; in the modern, industrial, urban world in which nothing remains, in which society is constantly changing.
Lot 79
EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."Portrait of a seated young woman".Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 116 x 90 cm; 131 x 104 cm (frame).Oil on canvas, in which the artist has captured the portrait of a seated girl. This type of images starring young ladies were very common during the 19th century, as they allowed the recreation of values such as delicacy and sumptuousness, as can be seen in this case in the treatment of the white dress of the protagonist. The author proposes an intimate image featuring a young woman who has stopped reading and whose gesture seems to recreate the words she has read, reminiscent in a certain way of the idea also put forward in Madame Bovary, on the influence of literature on young women.Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs-Elysées for several years, with works of a literary and genre nature and some portraits. From 1890 he moved away from history painting, which was in great demand in Spain but little appreciated in France, and devoted himself to genre painting, landscape and illustration in publications such as "Blanco y Negro" and "La Ilustración Española y Americana". On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. Among his disciples were María Blanchard and Cecilio Pla, and he published "La gramática del colour", a work that was used as a textbook in the Fine Arts Schools of Madrid and Barcelona. In the capital Sala opened his own studio and took part in the decoration of the Palaces of Anglada and Mazarredo. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.
Lot 80
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture in polished brass. Copy 347/2000.Provenance: Private Collection of Luis García Berlanga.Slight scratches.Signed and numbered on the base.Measurements: 28 x 21 x 20 cm.Detachable sculpture in polished brass representing a male torso, emphasising the volume of the shoulders, in allusion to the title of the work, "Torero". Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of the 1900s, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennale, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 81
LUIS DE MADRAZO Y KUNTZ (Madrid, 1825 - 1897)."Portrait of a Lady with a Cat.Oil on canvas. Re-coloured.With restorations.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 81 x 54 cm; 100 x 72 cm (frame).Like the rest of his family, Luis de Madrazo cultivated the portrait. The quality of the master responsible for the painting is clear: first, for the economy of means, which keeps the spectator's attention focused on the lady (something to which the neutral background of the painting and the tonal play between the dress and the pale skin of the lady also contribute); second, for the quality of the drawing used, above all, in the face (drawing which predominates over the colour and the brushstroke, as it was usual in the art of the 19th century derived from the Neoclassicism of the Fine Arts Academies).The son of José de Madrazo and brother of Federico and Pedro, Luis de Madrazo enjoyed great prestige during his lifetime, first as a teacher (professor of Old and Ropajes Drawing) and later as director of the Madrid School of Painting, Sculpture and Engraving, and was recognised with honours such as the appointment of Commander of the Order of Isabella the Catholic, as well as a full member of the San Fernando Royal Academy of Fine Arts. He was a cultivator of religious and historical themes, although he was particularly praised as a portraitist. He began his training with his father and later furthered it at the San Fernando School in Madrid. As early as 1845 he was already working as an illustrator for "El Semanario Pintoresco". Later he also worked as a draughtsman for the "Semanario Pintoresco Español". In 1848 he went to Rome to further his artistic studies at the National Academy of St. Luke and the French Academy of the Villa Medici. In Rome he came into contact with Friedrich Overbeck through Antonio Solá. He received a powerful Nazarene influence from the German Romantic painter, which can be seen in his work from then on. Later he travelled to Paris, Venice, Munich and Berlin before returning to Italy in the 1890s, settling in Pompeii with the painters Bernardino Montañés and Francisco Sáinz. He finally returned to Spain to begin his teaching career in San Fernando and was introduced into the artistic circles of Madrid by his father and brother Federico. He worked with the latter at the Prado Museum. As a painter, Luis de Madrazo devoted himself almost exclusively to portraiture, working for official bodies and also for the nobility. He made his work, characterised by the purity of lines and the sharpness of colour and light typical of the strictest Nazarene aesthetic, known through various competitions and official exhibitions held both in Spain and abroad. In 1855 he was a major success at the Universal Exhibition in Paris, and the following year he won the first medal at the National Fine Arts Exhibition in Madrid for his work "Pelayo en Covadonga" ("Pelayo in Covadonga"). He was also awarded a silver medal at the Franco-Spanish Exhibition of 1864. Luis de Madrazo is currently represented in the Prado Museum, the Royal Academy of History in Madrid, the Lázaro Galdiano Museum in the same city and other important public and private collections.
Lot 85
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a young man.Oil on canvas. Re-coloured.It has craquelure on the pictorial surface.Provenance: Private Collection of Luis García Berlanga.Signed in the lower left area.Measurements: 46 x 36 cm; 64 x 54,5 cm (frame).Portrait of a lady which seems to have been conceived as a sketch or study, as the author only presents the face of the young woman in a detailed way, while the bust area is slightly intuited through several touches of colour which make up the volume. The work follows the precepts established by the portrait genre throughout the history of art: the neutral background that monumentalises the figure, and the position in the foreground, avoiding strict frontality.Palmaroli was a vigorous portraitist who knew how to delve into the psychology of the sitter and recreate the minute details of the clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetics of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Accademia di Roma. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
Lot 86
JOSÉ MONGRELL TORRENT, (Valencia, 1870 - Barcelona, 1937).Untitled.Oil on cardboard.With sketch on the back.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner. Signed on the back.Measurements: 16,5 x 20 cm; 32,5 x 40 cm (frame).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 gradually 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 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.
Lot 87
JOAN GARCÍA RIPOLLÉS, (Castellón, 1932)."Initiation to the observer", 1981.Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed and dated in the lower left corner. Titled on the back.Measurements: 60 x 46 cm; 63,5 x 48,5 cm (frame).In this work Ripollés resorts to one of the most explored themes in the history of art, that of the bathers. Picasso's influence is evident in the work, both aesthetically and thematically, as the figure of the protagonist can be seen lying down like a Venus, who is contemplated by the figure of a man who is relegated to the right-hand corner of the composition and whose presence is barely noticeable. 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 midst of the post-war period, he began to work 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 MACBA 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 MACBA.
Lot 88
JOAN GARCÍA RIPOLLÉS, (Castellón, 1932)."Woman", 1971.Mixed media on canvas.Presents the stamp of the Porcar Gallery (Castellón).Provenance: Luis de García Berlanga Private Collection.Signed and dated in the upper left corner.Measurements: 12 x 22 cm; 13,5 x 20 cm (frame).At the beginning of the 70's, Ripollés created this type of paintings with female protagonists much more stylised and with a symbolist character, as can be seen in his painting "Menina 2" from the year 70, where a similar aesthetic treatment to the one in the present work can be appreciated. 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 began to work 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 MACBA 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 MACBA.
Lot 89
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)."Misa de música", 1969.Silkscreen on paper. Copy 1/30 P.A.Provenance: Private Collection of Luis García Berlanga.Signed, justified and located (New York).Measurements: 44 x 58 cm; 52,5 x 65,5 cm; 60 x 73 cm (frame).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 MACBA 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 MACBA.
Lot 92
JUAN RIBERA BERENGUER, (Valencia, 1935 - Valencia, 2016)."Virgencita", 1965.Mixed media on canvas.Provenance: Private Collection of Luis García Berlanga.Signed, dated and titled on the back.Size: 35 x 26,5 cm; 36,5 x 28 cm (frame).Trained at the Escuela Superior de Bellas Artes de Valencia, Juan Ribera was a founding member of artistic groups such as Parpalló, Arte Actual and Movimiento Artístico del Mediterráneo. He has been part of the Valencian and Madrid artistic avant-garde, participating in the exhibitions of the Juan Mordó gallery. He had solo exhibitions at the Dirección General de Bellas Artes in Madrid (1969) and the Museo de la Ciudad de Valencia (1998), among other centres, and participated in important group exhibitions such as those held at the Museum of Modern Art in Paris (1963), "Pintores figurativos de la España actual" (1964), which toured the United States, and the IVAM in Valencia. Throughout his career he has received pensions from the Diputación and the Valencia City Council, the Casa Velázquez in Madrid and the March Foundation, and has been awarded the Valencia Prize at the Fine Arts Exhibition in Barcelona (1960), the Diputación de Valencia at the National Exhibition in Madrid (1968), the gold medal at the Salón de Marzo in Valencia (1977) and the Archival Prize for artistic merit (1995), among others. Ribera is represented in the San Pío V Museum in Valencia, the Museum of Contemporary Art in Vilafamés, the Municipal Museum and the Círculo de Bellas Artes in Madrid, the Springfield Museum (Massachusetts), the Cathedral, the Diputación, the Ateneo and the City Museum of Valencia, etc.
Lot 94
CRONICA TEAM (Valencia, 1964 - 1981)."Felipe IV".Silkscreen. Copy 277/300.Provenance: Private Collection of Luis García Berlanga.Signed and justified in pencil.Measurements: 40 x 30 cm; 64 x 49 cm; 67,5 x 51,5 cm (frame).Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, the Fundación Juan March and the Museo Patio Herreriano in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organised at the Museo de Arte Abstracto in Cuenca.
Lot 97
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Mini David", c.1960.Nickel-plated bronze and bronze bath on the genitals. Serial No. 6521.Provenance: Private Collection of Luis García Berlanga.Signed on the right arm.Measurements: 13,7 x 5 cm.Round sculpture made up of numerous pieces in nickel-plated bronze, which are joined together creating a piece of figurative aesthetics, where the artist has grouped a set of angular shapes. The piece represents a male torso whose title refers to the biblical character David, who defeated the giant Goliath. In addition to being a shepherd, David could play the harp. So he went to serve King Saul, who at that time was fighting against the Philistines. There he confronted the giant Goliath, whom he killed with a stone thrown from his sling. The stone hit him in the forehead and Goliath fell to the ground. With the giant's sword, David cut off his head.Berrocal began his training at the School of Arts and Crafts in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 266
ART DECO FIGURAL LAMP ATTRIBUTED TO JOSEF LORENZL (AUSTRIAN, 1892-1950),cold painted spelter, modelled as a kneeling semi-clad female, on a hardstone triangular base, with original mottled pink glass spherical shade, 45cm highCondition good to fair. Shade appears original. Notable wear to face and body, as well as a couple of scratches to base, though no major damage. Rewired and currently working. Additional images now available.
Lot 332
ART DECO TWELVE SETTING PART TEA SERVICE BY PARAGON,painted in enamels with floral pattern, comprising two sandwich plates, twelve octagonal side plates, twelve saucers, twelve cups, cream jug and sugar bowlTwo cups have hairline cracks. Other than that, there is light wear as per age and use.
Lot 333
ART DECO POTTERY VASE BY AMPHORA,decorated in relief with stylised design of cranes in a lily pond, bearing printed marks and impressed no. 12406 to base, 25cm highCondition generally good. Light wear as per age. Would benefit from clean. Minor hairline to base (this may just be to the glaze though it is difficult to say, does not compromise stability of piece). Image now available.
Lot 336
'HOUSE FOR AN ART LOVER' DINING SUITE BY BRUCE HAMILTON OF GLASGOW,produced to an exceptionally high standard and faithful to the original design of Charles Rennie Mackintosh, carved in oak, comprising rectangular table, 74cm high, 290cm wide, 114cm deep, and eight dining chairs including two carvers, all with tartan upholstered seats, the stencilling excecuted in collaboration with Elisabeth Viguie Culshaw of the Landsdowne House of Stencils, each 138cm high, bearing labels (9)Footnote: Bruce Hamilton was commissioned by Glasgow City Council to manufacture the furniture of the Dining Room in the House for an Art Lover in 1995; after studying the original plans and works, Hamilton produced a suite that was essentially original Mackintosh, albeit 67 years after his death; the House for an Art Lover suite is number one in this series and the suite offered here is number three, presenting a rare opportunity for modern day followers of Mackintosh to acquire a suite as faithful as it is possible to be to that of the master himself.Bruce Hamilton has issued a letter confirming the authenticity of this set, a scan of which is available upon request.Condition generally good.Both table and each chair is subject to light wear as per use and age.For the table, this is evident to the legs and the edge. For the chairs, this includes nicks towards the legs, as well as what appears as craquelure and nicks to the varnish to top of each upright, headrest and wings. Some marks to the upholstery.Substantial additional images.
Lot 344
MODERN HOUSE CONSTRUCTION, SUTCLIFFE (G. LISTER, ed.),pub. Blackie & Son, London, Glasgow, Edinburgh, and Dublin 1898, Art Nouveau gilt tooled cloth boards (in 6 vols)Condition good to fair. Each binding shows wear as per use and age, including some fraying to the edges, and varying degrees of minor wear. The pages are yellowed, with some mi or marking in areas. Additional images now available.
Lot 346
THE HORSE; ITS TREATMENT IN HEALTH & DISEASE, WORTLEY AXE (PROF. J., ed.),pub. The Gresham Pub. Co., London 1906, in Art Nouveau gilt tooled cloth boards (in 9 vols.)This is a first edition set. The condition is good to fair. Areas of wear, fraying and discolour to binding, as well as some foxing to the pages. Additional images now available.
Lot 356
SUSIE COOPER FOR GRAY'S POTTERY, ART DECO TEAPOTdecorated in polychrome overglaze enamels, marked to base with Pareek England overstamp, 22cm longCondition good to fair. Cover has a large chip/crack to base rim, though this is disguised within teapot and doesn't effect structural integrity. Teapot itself generally good with light wear to painted colours. Additional images now available.
Lot 365
BOHEMIAN ART DECO MALACHITE GLASS COMPOSITE FOUR-PIECE DRESSING TABLE SET,comprising two jars and covers, a scent bottle and stopper and a scent bottle (lacking stopper), each with moulded decoration, the scent bottle and stopper 14cm highCondition generally good. Light wear as per age and use, though no major damages.
Lot 385
LARGE ART NOUVEAU STONEWARE VASE BY ROYAL DOULTON,decorated in relief with stylised foliage on a mottled grey ground, impressed marks and monogram M H (possibly for Marion Holbrook) to base, 46cm highCondition generally good. Some manufacturing imperfections, including glaze crazing, with additional images of the worst effected areas.
Lot 461
ART DECO BRONZED SPELTER FIGURAL LAMP,in the manner of Josef Lorenzl, modelled as a semi-nude female with opaque glass shade, mounted on black marble socle base, 57.5cm high to fixtureCondition good to fair. Crack to the sconce, though stable and still holds shade. Pitting to body throughout, as well as minor scuffs and scratches. Shade generally good, with some minor nibbles towards base. Light age related wear throughout. Additional images now available.
Lot 488
FRENCH ART DECO OPALESCENT MOULDED GLASS FIGURE OF A PEKINGESE BY SEVRES,signed to base, 10cm longThere is a small nick to the tip of the left ear and small chip/nick to the lower left side of the head, no other visible issues, additional images available; for enquiries regarding postage please enquire with our main office on 0141 810 2880 or visit mctears.co.uk/shipping
Lot 501
ART DECO GILT SPELTER FIGURAL TABLE LAMP,modelled as a kneeling dancer with one arm upstretched, on tapered alabaster base, the opaque ice glass shade with smoky inclusions, 42cm high overallCondition good to fair. Light age related wear to gippfigure and base. Doesn't turn on, so will need rewired. Large hairline to shade. Additional images now available.
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