RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Three friends".Pencil on paper.Signed and titled in the lower right corner.Size: 25 x 19 cm; 48 x 40 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his home town at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
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LEOCADIO MURO URRIZA (Pamplona 1897-1987)."Dancers" 1930.Mixed media on paper.Signed, dated and dedicated in the lower corner.Measurements: 27 x 17 cm; 38 x 28 cm (frame).Leocadio Muro Urriza was a multifaceted Spanish artist with a great variety of artistic techniques, standing out as a painter, decorator, poster artist, illustrator and teacher. He studied at the Pamplona School of Arts and Crafts. He obtained a scholarship (1926-1929) from the Provincial Council of Navarre and moved to Madrid where he studied at the San Fernando Royal Academy of Fine Arts. When he finished his training, he returned to his native city and his name began to be known in artistic circles in Navarre. At the end of the 1920s and during the 1930s his works appeared in group exhibitions. In 1928 he won first prize in the Art Competition organised by Pamplona City Council. In 1932 and 1934 he won the competition for the posters announcing the San Fermin fiestas. In those years he also began to collaborate with the city's seminary and with diocesan works through posters, illustrations and drawings.
FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, 1976)."Girl sleeping" and "Girls".Two charcoal sketches and coloured pencils on paper.Signed in the lower right-hand corner.Sizes: 33 x 37 cm; 46 x 51 cm (frames).A painter and draughtsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he briefly attended the La Lonja School in Barcelona, he is basically a self-taught artist. He held his first exhibition in 1932 at the Sala Parés in Barcelona, and took part in the Salones de Primavera (Spring Salons) between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute in Pittsburgh, USA. He continued to hold solo exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was particularly influenced by his favourite subject, the female. He also sporadically tackled other themes, such as urban landscapes, of which the series of Paris, which he presented in 1951, is particularly noteworthy. Likewise, with his portraits of the lead mine he came close to the sensitive realism of Ingres. He won several prizes, including the Sant Jordi prize in Barcelona (1953) and the first medals at the National Exhibitions in Madrid (1957) and Barcelona (1960). He brought together several unpublished drawings under the title "Dibujos de Serra" (Drawings by Serra) (1973), with a foreword by Santos Torroella. A staunch defender of realism in art and of traditional figuration as opposed to the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a preface by Rafael Benet. He is represented in the Museums of Modern Art in Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.
ERNESTO SANTASUSAGNA SANTACREU (Barcelona, 1900 - Santa Coloma de Gramenet, Barcelona, 1964)."Child Portrait".Oil on panel.Signed in the lower right corner.Size: 36 x 28 cm; 54 x 45 cm (frame).Ernesto Santasusgana began his training at the Baixas Academy in Barcelona and then went on to further his studies at the La Lonja School of Arts and Crafts. He later became a teacher at the latter and, when the institution's teaching was broken up, he became a professor at the San Jorge School of Fine Arts. He was a member of the Real Círculo Artístico, and made his debut at the Sala Parés in 1928. From then on he was to repeat his presence in the Sala La Pinacoteca, as well as taking part in the Salones de Otoño and the Spring Exhibitions in Barcelona, among other competitions and exhibitions. He was awarded an honourable mention at the 1929 Barcelona International Exhibition, a third medal at the 1941 Madrid National Exhibition and an honourable mention at the 1944 Barcelona National Exhibition. He was also awarded twice by the Círculo Artístico. In addition to his native city, Santasusagna showed his work in Madrid, San Sebastián and Bilbao, and took part in group exhibitions in Egypt, Brazil, Argentina and Italy, as well as in the Venice, Berlin and Spanish Contemporary Art Biennials in Buenos Aires. He also worked as a poster designer for Metro Goldwin Mayer. His works can be found in various Spanish museums, as well as in many national and foreign collections.
Venetian school from the end of the 17th century, beginning of the 18th century."The Bonaventure.Oil on canvas. Re-coloured.Size: 115 x 90 cm; 138 x 113 cm (frame).The theme of the good fortune has been continuously represented in the art throughout the different epochs. The one we present here is a fully eighteenth-century work, which shows the Venetian tradition in the joy, the costumes and the palette used, tending towards red tones, already used by artists such as Pietro Longhi. The theme of good fortune was common from the 17th century onwards, when the naturalistic depiction of all strata of society became popular and was thus linked to picaresque literature. The painting shows a young Venetian woman of high birth wearing a low-cut dress with lace and velvet. Her hairstyle, typical of Venetian fashion at the time, is decorated with feathers, and she holds a carnival mask in her right hand. The young lady, innocent and devoted, trusts the girl with gypsy features who reads her hand, not realising that a boy puts his nimble hand into the sack of coins hanging from her ostentatious dress. Thus, this scene requires a reading on several levels: it contains moralising connotations, as far as false prophecies are concerned. It is thus a kind of allegorical genre scene about fraud and naivety, close to contemporary literature and theatre. The lightness of the Venetian lady's skin contrasts with the dark complexion of the seer and the boy.
Spanish school ca. 1830."Portrait of a lady.Oil on canvas. In its original canvas.Measurements: 58 x 45 cm; 68 x 54 cm (frame).Portrait on indeterminate background of an elegant lady of high class, as it is possible to suppose so much for the dress, decorated with tulle, transparencies and fine lace, as for the earrings and the handkerchief, or for the chains that stand out in her gathered hairstyle. The lady's gaze is firmly fixed on the viewer, which adds character to the work and tells the viewer something about the psychological aspect of the lady.The quality of the master responsible for the painting is also clear: first, from the economy of means, which keeps the viewer's attention focused on the lady (something to which the neutral background of the painting and the tonal interplay between the dress and the lady's pale skin also contribute); second, from the quality of the drawing used, especially on the face (drawing that predominates over colour and brushstroke, as was usual in 19th-century art derived from the Neoclassicism of the Academies of Fine Arts).In the 19th century portraiture enjoyed a period of great splendour and varied compositions, thanks largely to the rise to power (political and economic) of a new social class, the bourgeoisie, who were determined to follow the aristocracy, at least in their desire to leave a "trace" and image of their passage through this world and of their social prestige and their economic power and position. Thus, a large number of painters specialised in this genre, although it was worked on by practically all the masters of the time.
Spanish school of ca. 1850. Attributed to JOSÉ GUTIÉRREZ DE LA VEGA (Seville, 1791 - Madrid, 1865)."Portrait of a Lady.Oil on canvas. Re-drawn.Size: 56 x 46 cm; 68 x 58 cm (frame).The quality of the master responsible for this painting, attributed to José Gutiérrez de la Vega, is clear: first, for the economy of means he maintains by focusing the viewer's attention on the lady (something to which the neutral background of the painting and the tonal interplay between the dress and the lady's pale skin also contribute); second, for the quality of the drawing used, above all, on the face (drawing which predominates over colour and brushstroke, as was usual in 19th century art derived from the Neoclassicism of the Academies of Fine Arts).One of the great portraitists of the Romantic period and a fervent follower of Murillo, José Gutiérrez de la Vega trained between 1802 and 1807 at the Academy of Fine Arts of Santa Isabel de Hungría in Seville. He began to paint portraits in 1816, and in his early works his typically Murilloesque vividness of tone and flesh tones, which, as some commentators have said, began to give him a reputation. Between 1818 and 1820 he stopped attending the Academy and devoted himself to making copies of Murillo, taking on the most complicated canvases by the master, on the sale of which he lived. However, he re-enrolled in 1821, perhaps thinking of becoming a teacher. Indeed, in 1925 he was appointed assistant painter. However, a few years later, in 1831, he decided to go to Madrid to try his luck at court. He was an academician of merit at the San Fernando Royal Academy of Fine Arts, although he never achieved the post of chamber painter, as it was only available when there were vacancies. Following the establishment of the Liceo Artístico y Literario de Madrid, Gutiérrez de la Vega became one of its most active members. He was also appointed director of the Seville School of Fine Arts, a post he held from 1839 until 1847 when, owing to his lengthy stays in Madrid, he had to leave. He was subsequently appointed professor of the elementary studies attached to the San Fernando Royal Academy.
Neapolitan school of the second half of the 18th century."Caprices of classical ruins".Pair of oil paintings on glass. Frames from the 19th century.It presents some faults in the painting.Measurements: 8 x 14 cm; 15 x 21 cm (frame).In this pair of "caprices" the sea is boldly introduced and this landscape genre with Greco-Roman ruins is taken up again, a theme that was at its peak during Romanticism. In 18th-century Italian painting it developed in its own right, thanks to the large number of architectural remains preserved in the country. The taste for the artistic remains of the past, the widespread travels of writers and artists in search of monuments and works of art that could serve as a source of inspiration, and the discovery of important ancient remains such as those of the cities of Pompeii and Herculaneum undoubtedly contributed to the success of the genre. It is a pictorial genre, moreover, that has its roots in the 17th century, in the veduta, not always topographical but sometimes extremely imaginative, of artists such as Canaletto and others.
Pair of Louis XV style candlesticks. France, ca. 1870.Gilded bronze.Measurements: 24 x 14 x 14 cm.Pair of candlesticks made in bronze whose design is framed in the transition between the late baroque and the rococo. The model is the usual one throughout the Baroque period, a model of European origin characterised by a foot and a voluminous shaft. The ornamental motifs are reminiscent of examples of the decorative art of the Louis XVI period, but reinterpreted to suit 19th-century aesthetic tastes.
LLUIS RIGALT I FARRIOLS (Barcelona, 1814 - 1894)."Landscape with figures".Oil on canvas.Signed and dated in the lower right corner.Measurements: 65 x 83 cm; 77 x 96 cm (frame).Painter, decorator and draughtsman, son of the painter and heraldist Pablo Rigalt i Fargas, Lluís Rigalt specialised in landscape painting. He studied at the La Lonja School in Barcelona and, apparently, also in Madrid with Jenaro Pérez Villamil. In 1841 he accidentally replaced his father in his classes at La Lonja, where he would later become a teacher of perspective and landscape from 1845 (confirmed in 1850). From 1847 he took part in the Fine Arts Exhibitions in Barcelona, and in 1858 he was awarded an honourable mention at the National Exhibition in Madrid for the painting entitled "Recuerdos de Cataluña" ("Memories of Catalonia"). As an illustrator, in 1857 he produced an "Álbum enciclopédico pintoresco de artes industriales", and in 1863 a series of "Cartapacios de dibujo para uso de las escuelas de instrucción primaria". He also illustrated the works "España pintoresca" and "Historia de Cataluña". His drawings of the tomb for the funeral of Martínez de la Rosa, erected in Barcelona cathedral, and those of the sword of honour given to General O'Donnell by the Catalan provinces in 1862 are also noteworthy. He also produced decorations such as the paintings for the rooms where Queen Isabella II stayed in Barcelona in 1845, as well as those for the Santa Cruz theatre, also in his native city. In 1885 he travelled to Paris with the commission to install the works of art presented by Spain at the Paris Exhibition, and once there he was fascinated by the attitude of the landscape painters of the Barbizon School. Lluís Rigalt was director of the La Lonja School between 1877 and 1878, representing a more advanced position than that of his predecessor Claudio Lorenzale because, although he was still a romantic like the Nazarenes, he did not participate in their mystical archaeology, but approached nature directly. In addition to teaching in Barcelona, he was an academician of merit at the San Fernando University in Madrid, and through his teaching work, as well as that of his father, landscape painting began to enjoy great consideration in Catalonia, despite the fact that until then it had been a little cultivated and scarcely appreciated genre in Spain. He cultivated a highly elaborate landscape painting, mythologising nature and often centred on romantic ruins, and was also noted for his numerous drawings, which often reproduced monuments and corners doomed to disappear with the urban reform of Barcelona. He also drew rural landscapes of Bañolas, the Maresme, Blanes, Lloret, Tossa, Martorell, etc. He is currently represented in the Prado Museum, the Sant Jordi Academy of Fine Arts, the MACBA and the Barcelona City History Museum, among other important public and private collections.
RAMÓN LÓPEZ MUÑOZ, (Barcelona, 1905 - 1983)."La Rambla de les Flors. Barcelona".Oil on canvas.Signed in the lower right corner. Titled on the back.Measurements: 60 x 80 cm; 69 x 89 cm (frame).Painter and draughtsman, López Ramón trained at the School of Fine Arts of Sant Jordi, in Barcelona, and was a disciple of José Mongrell. He became known through official exhibitions, such as the Spring Exhibitions and the Montjuic Salons held in Barcelona, and also took part in the National Fine Arts Exhibitions of 1942 and 1944. Outside Spain, he took part in the Spanish Art Exhibition held in Philadelphia (USA) in 1932, where he was awarded an Honourable Mention. He regularly exhibited individually in his native city, mainly in the Sala Gaspar. He is currently represented in various Catalan collections, both private and public.
Abel Klinger globe from the 19th century.Wood, paper and metal.It has old xylophages on the base. It presents faults and wear due to use.Measurements: 60 x 45 x 45 cm.Terrestrial globe raised on a wooden base, with an axis that allows the metal globe to rotate. The terrestrial sphere shows political and geographical indications, as well as the representation of parallels and meridians. The globe is the only geographical representation that is not distorted. They are usually mounted, as shown here, on an angled stand, which facilitates their use by representing the angle of the planet with respect to the sun and its own rotation at the same time. This makes it easy to visualise how the days and seasons change.Abel Klinger was an art dealer and engraver in Nuremberg, who published globes of various sizes. After his death, his widow continued the firm under the name 'J. Klinger's Kunsthandlung'. This name remained in use when Johann Paul Dreykorn (1805-75) bought the firm in 1831. When the merchant Carl Abel joined it in 1852, the name was changed to 'C. Abel Klinger'.
MODEST URGELL INGLADA (Barcelona, 1839 - 1919)."Rural Landscape with a Figure.Oil on panel.Signed in the lower left corner.Size: 20 x 38 cm; 49 x 66 cm (frame).The defining attributes that marked Modest Urgell's artistic personality coincide in this painting: a rural setting in a solitary spot, a sublime and romantic palette with which the Barcelona master immortalised the magic of the twilight hour, and the marked horizontality that defined his production.Modest Urgell began his career as a theatrical actor, but his family's prohibition against pursuing that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he came into contact with Gustave Courbet and became a follower of realism. During the 1960s his works were rejected at the official exhibitions in Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, the creator of the local landscape school. From then on Urgell decided to devote himself fully to landscape painting. His work focused on solitary natures and seascapes, often featuring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the Sant Jordi School of Fine Arts in Barcelona, and was appointed an academician in 1902. He was also the founder of the Artistic and Literary Society of Catalonia and of the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts in Madrid from 1864 until the year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the Barcelona exhibitions, as well as to the Universal Exhibition in Paris and the international exhibitions in Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded prizes in all the competitions in which he took part, including the Brussels competition, in which he was the only Spaniard to win a prize. He also devoted himself to literature, with a special interest in the theatre. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than a hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, colour and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, with brilliant chromaticism, like windows open to southern sensuality. His paintings, on the contrary, speak of melancholy and solitude, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque subject matter, taking up ordinary subjects without attempting to ennoble or idealise them, but rather seeking to provoke states of mind in the viewer through twilight that dissolves, for brief moments, in a harmony of reds, or his desolate cemeteries and severe, bare, stripped seascapes. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle in Hamburg, the Víctor Balaguer Museum in Vilanova i la Geltrú, the Caixa Sabadell and Caixa d'Estalvis de Terrassa Art Funds, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centres and institutions.
RAMÓN BARNADAS FÁBREGAS (Olot, Girona, 1909 - Vic, Barcelona, 1981)."Landscape with figures".Oil on canvas.Signed in the lower left corner.It presents some faults in the painting.Measurements: 50 x 65 cm; 67 x 81 cm (frame).A precocious painter, at the age of ten Ramón Barnadas entered the School of Fine Arts in Olot and made his individual debut in 1929, in the Layetanas Galleries in Barcelona. Only six years later he was appointed professor at the School of Fine Arts in his native city. He exhibited his work in Spain, Mexico and Switzerland, and won first prizes at the National Exhibition of Madrid and the International Exhibition of Palamós, the national landscape prize of the Estrada Foundation and the Ricardo Portabella prize. Barnadas, with his sketchy style, went beyond the lessons learned from realism and impressionism, becoming part of the evolutionary avant-garde of Catalonia at the time. This painter was able to establish his own language of landscape painting, seeking out and adopting new pictorial concepts. However, his work also encompassed the human figure, animal themes, still lifes, gypsy families and bathers, all depicted with the same inimitable talent as his landscapes. Throughout his career Barnadas showed his work at various exhibitions, notably those held at the Galerías Layetanas in 1927 and 1928, and at the Sala Barcino in 1933, 1924, 1935 and 1936, both in Barcelona. He was also awarded first prize for watercolour in the 9th Provincial Art Competition organised by the Diputació de Girona for his work "Gallinas" (Hens). After his death, his work continued to be shown to the public; in 2006 the Fontana d'Or cultural centre in Girona hosted a retrospective exhibition dedicated to him on the occasion of the twenty-fifth anniversary of his death, and in the same year another exhibition, organised by the Caixa de Girona, was dedicated to him. Between December 2008 and January 2009, the Les Voltes gallery in Olot presented a selection of his works to mark the centenary of his birth. He currently has two streets named after him, one in his native Olot and the other in the city of Girona.
NÚRIA LLIMONA RAIMAT (Barcelona, 1917 - 2011)."Fairground Attraction".Oil on canvas.Signed in the lower left corner.Size: 55 x 65 cm; 57 x 67 cm (frame).Núria Llimona trained at the School of Fine Arts in Barcelona, and after the war she began her career, combining painting with teaching at the same school. She made her individual debut at the Syra gallery in Barcelona, and later held others at the Nonell and Parés galleries in the same city, as well as taking part in various group exhibitions. She also took part in official exhibitions, winning several prizes, and was president of the 9th and 10th editions of the Salón Femenino de Arte Actual. In 2000, Núria Llimona received the Sant Jordi Cross, and in 2006 she was awarded the Barcelona Medal of Honour. She is currently represented in the Museums of Contemporary Art in Madrid and Barcelona.
FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, 1976)."Young man", 1970.Oil on canvas.Signed in the upper right corner.Defects in the frame.Measurements: 82 x 65 cm; 106 x 88 cm.Painter and draughtsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he briefly attended the La Lonja School in Barcelona, he is basically a self-taught artist. He held his first exhibition in 1932 at the Sala Parés in Barcelona, and took part in the Salones de Primavera (Spring Salons) between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute in Pittsburgh, USA. He continued to hold solo exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was particularly influenced by his favourite subject, the female. He also sporadically tackled other themes, such as urban landscapes, of which the series of Paris, which he presented in 1951, is particularly noteworthy. Likewise, with his portraits of the lead mine he came close to the sensitive realism of Ingres. He won several prizes, including the Sant Jordi prize in Barcelona (1953) and the first medals at the National Exhibitions in Madrid (1957) and Barcelona (1960). He brought together several unpublished drawings under the title "Dibujos de Serra" (Drawings by Serra) (1973), with a foreword by Santos Torroella. A staunch defender of realism in art and of traditional figuration as opposed to the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a preface by Rafael Benet. He is represented in the Museums of Modern Art in Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.
ADRIÁ GUAL QUERALT, (Barcelona, 1872 - 1943)."Two young people".Mixed media on paper.Drawing for theatre scenography.Signed in the lower left corner.Size: 28 x 26 cm; 43 x 39 cm (frame).Playwright, theatre director, painter and teacher, Adrià Gual studied drawing and painting with Pere Borrell and worked in his father's lithography workshop, which he left in 1901 to devote himself fully to the theatre. As a painter, the influence of his master led him at first to a rigorous realism, although he later joined the postmodernist group of the Colla del Safrà. He took part in the Fine Arts Exhibitions in Barcelona, and as a playwright he founded his own company and directed the Catalan School of Dramatic Art. He is represented at the MACBA in Barcelona, and in 2007 his works formed part of the exhibition "Barcelona and Modernity: from Gaudí to Dali", held at the Metropolitan Museum in New York.This lot can be seen at the SetdartBarcelona Gallery located at C/Aragón, 346.
ERNESTO SANTASUSAGNA SANTACREU (Barcelona, 1900 - Santa Coloma de Gramenet, Barcelona, 1964)."Woman Lying Down", 1940.Oil on canvas.Signed in the lower right corner.There are some flaws in the painting.Size: 35 x 54 cm; 60 x 69 cm (frame).Ernesto Santasusgana began his training at the Baixas Academy in Barcelona, to later extend his studies at the School of Arts and Crafts of La Lonja. He later became a teacher at the latter and, when the institution's teaching was broken up, he became a professor at the San Jorge School of Fine Arts. He was a member of the Real Círculo Artístico, and made his debut at the Sala Parés in 1928. From then on he was to repeat his presence in the Sala La Pinacoteca, as well as taking part in the Salones de Otoño and the Spring Exhibitions in Barcelona, among other competitions and exhibitions. He was awarded an honourable mention at the 1929 Barcelona International Exhibition, a third medal at the 1941 Madrid National Exhibition and an honourable mention at the 1944 Barcelona National Exhibition. He was also awarded twice by the Círculo Artístico. In addition to his native city, Santasusagna showed his work in Madrid, San Sebastián and Bilbao, and took part in group exhibitions in Egypt, Brazil, Argentina and Italy, as well as in the Venice, Berlin and Spanish Contemporary Art Biennials in Buenos Aires. He also worked as a poster designer for Metro Goldwin Mayer. His works can be found in various Spanish museums, as well as in many national and foreign collections.
A 1967 Overground Art psychedelic poster, photographed by Geoff Rosengarten, portrait of a female nude painted in body art, 94 cm x 59 cm, together with a 1960s colour poster print after Joe Roberts Jr, 'Love', 59 cm x 85 cm and 'Jewish Superman', large black and white poster, 89 cm x 58.5 cm.Qty: 3Good overall condition having been stored in roll tubes for many years. Some minor scuffs to edges.
Bob Dylan: a 1967 colour art poster, printed by Personality Posters, 85 cm x 56 cm, together with 'Melanie' a promotional poster for her 'Gather Me' album, on Neighbourhood Records, 65.5 cm x 48 cm.Qty: 2Good overall condition, having been stored in roll tubes for many years. Some scuffs to edges
Three late 1960s / early 1970s black light posters, comprising Devils Disciples #353, designed by Michel Art, 87 cm x 62 cm, a portrait of John Lennon, 60 cm x 90 cm and 'Creation of Butterflies', silkscreen print after M C Escher, printed by Personality Posters, 65.5 cm x 60 cm.Qty: 3In good overall condition, having been stored in roll tubes for many years. Some minor scuffs to edges.
'The Sensual Dieter's Guide to Weight Loss During Sex', an original early 1970s blacklight poster, 86 cm x 28 cm, together with 'Toothache', a 1967 black and white psychedelic poster, by Print Mint, 56 cm x 73.5 cm and a similar period art nouveau style black and white poster, untitled, 44.5 cm x 57 cm.Qty: 3In good overall condition, having been stored in roll tubes for many years. Some minor scuffs to edges.
Accidents & First Aid.- Earle (Henry) Two Lectures on the Primary and Secondary Treatment of Burns, only edition, 2 engraved plates, 8pp. publisher's catalogue at end, ex-library copy with stamp to title, contemporary half calf, 1832 § Sage B.G.) Expériences propres a faire connoitre que l'Alkali Volatil Fluor est le Remedie le plus efficace dans les Asphyxies, third edition, half-title, marginal staining, final leaf defective at lower corner (repaired) and with library stamp to verso, modern calf-backed marbled boards, uncut, Paris, 1778 § Hall (Marshall) Prone and Postural Respiration in Drowning.., first edition, frontispiece and illustrations, ink signature to head of title, original cloth, recased, 1857 § Struve (C.A.) A Practical Essay on the Art of Recovering Suspended Animation..., 6pp. advertisements at end, modern cloth, 1801, the first and third rubbed; and c.20 others on accidents, first aid and domestic medicine, 4to & 8vo (c.25)
NO RESERVE Camper (Petrus) Dissertation Physique...sur les différences réelles que présentent les traits du visage chez les hommes de différents pays et de différents âges..., 10 engraved plates, 5 folding, 1791; Discours...sur le moyen de représenter d'une manière sûre les diverses passions qui se manifestent sur le visage, folding engraved portrait by R.Vinkeles, 11 engraved plates, 5 folding, 1792, together 2 works in 1 vol. (the second bound first), edited by Adrien Gilles Camper, first editions in French, half-titles, old ink inscriptions to half-title of Discours, contemporary half green morocco, spines with gilt bands, rubbed, rubbed, corners worn, [Waller 1728 & 1724], 4to, Utrecht, B.Wild & J.Altheer⁂ Two influential works by the Dutch physician and physiologist, one of the first to take an interest in comparative anatomy. The first mentioned work is on craniology and introduced the facial angle or "Camper's angle", comparing the angle of the human face of modern peoples to classical statues. The second item concerns the scientific representation of the human form in art and the similarity of expression in humans and animals.
Surveying.- Leybourn (William) The Compleat surveyor: containing the whole art of surveying of the land, by the plain table, circumferentor, theodolite, peractor, and other instruments, fourth edition, title in red and black, engraved portrait frontispiece by R. White, 6 folding plates, and a small plan of a manor in Rutland, a4 advertisement f., water-stained, occasional spotting, contemporary calf, sympathetically rebacked, spine in compartments and with red morocco label, corners restored, covers rubbed, [Wing L1910], small folio, Printed by E. Flesher, for George Sawbridge, at the signe of the Bible on Ludgate-hill, 1679.⁂ Provenance: 'Jo: Alleyne book pr 15s'; 'John Bowdon Junier his Book' (contemporary ink inscriptions to verso of portrait).
NO RESERVE Young (Rev. Edward) Pre-Raffaellitism, first edition, 24pp. advertisements at rear, original pink decorative cloth, spines faded, extremities frayed and creased, corners bumped, 1857 § Hazlitt (William) Criticisms on Art; and Sketches of the Picture Galleries of England, 16pp. advertisements at rear, original blind-stamped cloth, rebacked preserving original spine (faded and frayed), corners bumped, 1843, 8vo (2)
Art & fashion.- Visionaire, no. 19, Beauty, edited by Stephen Gan, limited edition, loose sheets as issued, housed in original mirror box with inlayed lipstick, mascara and lip gloss, some light rubbing a fraying to extremities, 4to, New York, 1996.⁂ Contributors include Bruce Weber, Nan Goldin, and Cindy Sherman.
Art & fashion.- Visionaire, no. 18, Fashion, edited by Stephen Gan, limited edition, loose sheets as issued in original numbered wraparound, housed in original monogrammed leather Louis Vuitton portfolio with ties, 4to, New York, 1996.⁂ Contributors include Larry Fink, Nan Goldin, Inez van Lamsweerde and Mario Testino.
Art & fashion.- Visionaire, no. 22, Chic, fabrics and materials tipped in, original cloth-backed boards, slip-case, 1997; Visionaire, no. 25, Visionary, loose sheets as issued in slip-case with plastic sleeve (some chipping to corners), 1999, edited by Stephen Gan, limited editions, New York, 4to (2)⁂ The first being the Mario Testino issue.
Japanese Art.- Ledoux (Louis V.) Japanese Prints of the Ledoux Collection, Vol.1 (Primitives), 4 (Sharaku to Toyokuni) & 5 (Hokusai & Hiroshige) only, full-page illustrations, some colour, original cloth-backed decorative boards, spines gilt, New York & Princeton, E. Weyhe & Princeton University Press, 1942-1951; and 11 others, Japanese Art, including reference works, prints and an album of original drawings, v.s. (14)
printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
hand printed book, Vol I, 2007,(219pp) numbered one of five, limited to five copies, including poetry, biography and a selection of photographs, and Volume II, numbered three of four hand printed copies, both copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen ....in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, Vol I with some small pencil annotations added by the author, plain paper dust jacket, cloth bound with cloth slip case; volume II 2009, (95pp) continues the biographical account from the 1970s, the 'Circle of Light' movie, further poetry and much detail on experimental techniques in photography, again cloth bound in cloth slip case, each Volume 31.5cm x 28.5cm. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
hand printed book, Vol I only, 2007,(219pp) numbered three of five, limited to five copies, including poetry, biography and a selection of photographs, copiously illustrated with high quality reproductions of Pamela Bone's photography, black-and-white prints by a collotype or similar process, and colour prints, described in vol II as ''scanned and the scans painstakingly retouched before being imaged to plate using stochastic screen .... in order to achieve the maximum level of detail', each photograph separately printed, tipped in and protected with a loose tissue guard, plain paper dust jacket, cloth bound with cloth slip case, book 31.5cm x 28.5cm Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”
oil on board 'Young Girl with Marigolds', signed and dated 1890 lower right, 16 cm x 22 cm, in gilt frame. Newcombe was a supporter of women's suffrage and later became a member of the London Society for Women's Suffrage. She trained at the Slade School and was commissioned to paint George Bernard Shaw, becoming romantically involved with him and becoming a Fabien Socialist. She exhibited at the Royal Academy of Art, Royal Institute of Oil Painters, Society of Women Artists, and the Fine Art Society amongst others.
A large Art Nouveau silver fronted picture frame of stylised sinuous design. Hallmarked for Birmingham 1905 and with E Mander & Son makers mark. With original (worn) purple velvet back and wooden stand. Crack to glass in top left and some age related denting to the silver primarily around edges and on top central domed cartouche. Some pins missing around the base meaning the silver front is loose and needs re-pinning. Approx. 31cm tall x 23.5cm wide.
BRONZE TRIAD OF PADMASAMBHAVA AND CONSORTS 銅鑄蓮花生大士與曼達拉娃及益西措嘉像 cast with the Guru Rinpoche seated on a double-lotus throne, right hand holds a vajra before his chest, left with kapala, a khatvanga issues from his left arm, flanked by standing Mandarava on his right and Yeshe Tsogyal on his left, the base sealed with a plaque incised with shou roundel enclosed by rosettesDimensions:13.5cm high; 581gProvenance:Provenance: Private Scottish collectionNote: Note: Compare to a slightly smaller example of Tibetan bronze figure of Padmasambhava, dated to the 16th century which was sold at Christie's New York, 19 September 2019, lot 22, Himalayan Art Resources, item no. 24582. Note the similarity of the facial features, composition of the triad, and two bulges on the back of the throne.
Edward VII Art Nouveau silver mantle clock, London 1902, maker William Hutton & Sons Ltd. the triangular pediment above a tapering foliate decorated section, the silvered dial with Arabic numerals and blued moon phase hands, the case with central depiction of a Valkyrie, 31.5cm high, 12cm wide
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