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Sheffield Wednesday Home Programmes 1959-69, including 59-60 v. Torpedo, 60-1 v. Tottenham, Tbilisi, F.A XI v. Army, County Cup v. Doncaster, 61-2 v. Lyon, Roma, Barcelona, 62-3 v. Santos, Shrewsbury - F.A Cup, England v. France, 63-4 v. Utrecht, Cologne, 64-5 v. Bremen, etc approximately two hundred and forty.

GONZALO BILBAO MARTÍNEZ (Seville, 1860- Madrid, 1938)."Landscape".Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower right corner.Measurements: 90 x 75 cm.This work is certified by the scholar Don Gerardo Pérez Calero, Emeritus Professor of Art History at the University of Seville, who has published numerous articles, the work of Gonzalo Bilbao being one of his main lines of research. Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. During these years he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.

JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934)."Modèstia", 1891.Sculpture in polychrome stucco.Signed.With Esteva & Cia. stamp.Work catalogued in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, Barcelona, p. 104.Measurements: 41 x 32 x 21 cm.The sculpture "Modèstia" is evidence of Josep Llimona's most personal characteristics: naturalistic idealism, an inclination towards the gentle side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, enveloped in a veil of mystery.Josep Llimona is remembered as the most important Catalan sculptor of Modernisme. Trained at the Escola de la Llotja in Barcelona, he obtained a pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he already won prizes (gold medal at the Universal Exhibition in Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of a religious nature (the two brothers were deep believers). By the mid-1990s his style was already drifting towards full modernism. He received the prize of honour at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 onwards he concentrated on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Risen Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of Saint George in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for various cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Barcelona Museum Board from 1918 to 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the French and Italian governments. He was also awarded the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work can be found in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Sunset".Oil on canvas.Relined.Signed in the lower right corner.Attached certificate of Dr. Joan Campana Tubon.It presents a patch in the left inferior zone.Measurements: 75 x 87 cm; 93 x 105 cm (frame).In this painting by Joaquim Mir, the wide sky takes centre stage, opening up in the bluish vault a deep crimson caesura. Likewise, the light at twilight falls on the landscape with its small chapel, unfolding a daring symphony of emerald greens and bright yellows between shady hollows. Joaquim Mir reduces nature to its basic elements through an excellent handling of light and colour, but at the same time he avoids abstraction, always suggesting the pulse that beats beneath the forms.Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" (Safrà Group) with other colleagues to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). From 1897 he also frequented the artistic environment of "Els Quatre Gats", which helped him to mature in the compositional study of landscapes with figures in different planes of depth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. In 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. In 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been pursuing since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.

FRANCISCO JAVIER GOSÉ ROVIRA (Alcalá de Henares, 1876 - Lleida, 1915)."Lady".Charcoal on paper.Signed with a testamentary seal at the bottom.Discolouration on the paper.Size: 17 x 14.5 cm; 32.5 x 28 cm (frame).Javier Gosé's style oscillates between modernism and French art-deco, reflecting the life of Parisian society. Inspired by the worldly life of the café-concerts, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of French society at the time, although it is not without a certain mischievousness characteristic of carefree Paris.Francisco Javier Gosé was an essential draughtsman and painter in the world of graphics and fashion in the transition from the 19th to the 20th century. He studied in Barcelona, where he was assistant to the draughtsman José Luis Pellicer. From a very early age he collaborated in Barcelona publications, from "La Esquella de la Torratxa" and "La saeta", in which his attachment to modernism is clear, to "Mundial Magazine" and "Fémina", where a pre-cubist line can already be seen. His first exhibition was held at Els Quatre Gats. During his Barcelona period he portrayed the proletariat, although in 1900 he travelled to Paris, where he collaborated with "La vie Illustrée" and "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Up to this point his works showed a satirical and realistic view of the bourgeoisie, snobs and prostitutes, although this view changed in 1907, when he began a more stylised, less realistic and less ironic period, above all because of his entry into the world of fashion, in which Gosé sought to set a trend among women in society. His period in Paris was the turning point in his life and artistic production, as the French capital was the place where he broadened his knowledge, becoming a successful artist who would obtain interesting commissions as an illustrator for the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance which, together with serious health problems, deprived him of the elegant Parisian environment, and he moved to the city of Vichy, famous for its spas. Shortly afterwards Gosé moved back to Barcelona, spending the last days of his life in Lleida. His posthumous exhibitions include the one at the Círculo Artístico in the same year as his death, the retrospective at the Rovira gallery (1970) and the one at the Fundación La Caixa (1984). He is represented in the Museums of Modern Art in Barcelona and Madrid, among others.

LAUREANO BARRAU BUÑOL (Barcelona, 1864 - Santa Eulària des Riu, Ibiza, 1957)."Landscape".Oil on canvas.Signed in the lower right-hand corner.It has a patch on the back.Measurements: 90 x 63 cm; 100 x 73 cm (frame).Laureano Barrau was born in the bosom of a bourgeois family, son of an industrial engineer and businessman. He began his training at the School of Fine Arts in Barcelona, where he was a pupil of Antonio Caba. Shortly afterwards he travelled to Madrid to broaden his training by studying the great masters of the Prado Museum. In 1884 the Barcelona City Council granted him the Fortuny Pension to extend his studies in Rome for three years. However, with the money from the travel grant Barrau moved to Paris, where he entered the Academy of Fine Arts, with Jean-Léon Gérôme as his tutor. In 1885, already in Rome, he studied the Italian masters and began to send to Barcelona the works that corresponded to him as a boarder. From 1887 he exhibited regularly at the Sala Parés in Barcelona, one of the most important Spanish galleries of the time, and the most prominent in Catalonia. That year his painting "The Surrender of Gerona" was a great success with critics and the public, as it represented a totally personal treatment of the genre of history painting, more vibrant and emotive. At the same time, Barrau frequently took part in official exhibitions both nationally and internationally. In 1888 he was awarded a second medal at the International Exhibition in Barcelona and a second prize at the Universal Exhibition in Brussels. Three years later, in 1891, he was awarded the title of member of the Salon de la Société Nationale des Beaux-Arts in Paris, and the following year he was awarded a third medal at the National Exhibition of Fine Arts in Madrid for his work "Escardadora". In 1904 he won a second medal at the same exhibition for "Taponeras del Ampurdán". Barrau also held numerous individual exhibitions and took part in group exhibitions in Paris, Barcelona, Madrid, New York and Rome. In 1909 he settled in Buenos Aires, where his work enjoyed the same success and recognition as it had in Spain and Europe, and after returning he settled permanently in Ibiza in 1911. From there he continued to show his work both in Spain and abroad, and in 1929 he was appointed "Societarie" of the Paris Salons. Barrau's work is based on an initial language linked to his neoclassical training, and evolves to reach a new concept characterised by luminosity and chromatic transparencies. To this day, the work he produced in Santa Eulària des Riu (Ibiza) at the end of his life is considered to be the best of his output. Laureano Barrau is currently represented in the Prado Museum, the Getty Museum in California, the Museums of Contemporary Art in Madrid and Barcelona, his house-museum in Santa Eulària des Riu and in various museums in Paris, Buenos Aires, Montevideo and Rio de Janeiro, as well as in important national and international private collections.

JOSEP MARIA TAMBURINI DALMAU (Barcelona, 1856 - 1932)."Lady with a Flower".Pastel and charcoal on paper.Signed in the lower left corner.Published in the Ilustración Catalana.Size: 60,5 x 45 cm; 80 x 65 cm (frame).In this canvas Josep Maria Tamburini offers us a portrait halfway between the dreamlike and the real, starring a totally physical face, perfectly modelled on the basis of subtle tonal and light gradations, supported by a solid drawing. Around the melancholic face of the lady, the space blurs, as do her clothes, becoming delicate tulles that seem to float around her.A painter and art critic and a leading figure in Catalan modernism, Tamburini began his training at the Escuela de La Lonja in Barcelona, later completing his studies in Paris with L. Bonnat and in Rome. He collaborated as a draughtsman, art critic and poet with the magazine "L'Avenç", one of the most outstanding artistic publications in Catalonia at the turn of the century. He also wrote for "La Vanguardia". As a painter, he began his career in history painting and anecdotal realism, later evolving along the lines of symbolism, strongly influenced by English pre-Raphaelism. He achieved recognition in 1888, when he won a silver medal at the Universal Exhibition in Barcelona. He continued to take part in official exhibitions in Barcelona and Madrid, and was again awarded a prize at the Barcelona Exhibition in 1898, where he won the Queen Regent's Extraordinary Prize. In 1911 he was awarded the Prize of the King and Queen of Spain. As a mature painter, he worked on placidly fantastic, detailed and precious themes, as well as religious subjects and some portraits. He was also a member of the Board of Museums of Barcelona, advisor to the Academy of Fine Arts, teacher at the La Lonja School and co-founder of the Artistic and Literary Society of Catalonia (1911). He is represented in the MACBA, the National Art Museum and Library of Catalonia, the Royal Academy of Sant Jordi, the Casa Lis Museum in Salamanca and the Fine Arts Museums of Valencia and Seville, as well as in numerous private collections.

JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958)."Le coucher".Bronze sculpture with marble base.Signed.With foundry stamp.The base is severely broken on the left side. The sculpture is not anchored to the base.Size: 65 x 20 x 13 cm; 70 x 24 x 18 x 18 cm (base).This work by Josep Clarà falls within the context of Noucentisme, an ideological-aesthetic movement that arose in Catalonia at the beginning of the 20th century as a reaction against modernism, romanticism and, in general and by extension, against all art and the "fin-de-siècle" spirit. Noucentisme was generically opposed to the mentality and spirit of the eighteenth-century with a desire for rigour and a classicism that looked to the classicist past for its ideal models to imitate. Thus, its essential values were order, clarity and moderation. Contrary to the naturalism, psychologism and sentimentalism of the 19th century, he sought the lucid creation of a Mediterranean spirit, in contrast to fin-de-siècle decadentism.Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. He is also present in the Museu Comarcal de la Garrotxa in Olot and in the Museu Nacional d'Art de Catalunya, among others.

JOSEP SERRASANTA (Buenos Aires, Argentina, 1916 - Valldoreix, Barcelona, 1998)."Fishing village".Oil on canvas.Signed in the lower left corner.Size: 60 x 80 cm; 85 x 105 cm (frame).Born in Argentina although of Catalan parents, Josep Serrasanta lived in Catalonia since his childhood. There he studied at the School of Arts and Crafts of La Lonja, and completed his training as a disciple of Francesc Gimeno. Although he also tackled other themes such as still life, he soon achieved fame thanks to his beautiful landscapes of small abandoned villages, and also for his popular types, such as his famous gitanillas de Barcelona ("little gypsies of Barcelona"). He also cultivated mural painting, producing in this field in tempera, fresco and oil decorations in various Catalan churches. Particularly noteworthy are the admired murals he painted in the church of Santa Maria de Castelldefels (1950-58), as well as the paintings of the three domes of Lleida Cathedral. He had solo exhibitions in Tarrasa and later in the Augusta galleries in Barcelona in 1950. He also held personal exhibitions on several occasions in Madrid, Bilbao, Valencia, Paris and various cities in the United States and Japan. His work, which is traditional in concept, is notable for its energetic use of the palette knife and vibrant chromaticism. In 1964 he won the Grand Prix International de Cannes, and later the French government awarded him the Grand Croix du Commandeur au Mérite National Française. He is currently represented in various public and private collections, mainly in Catalonia.

JOAQUIN VAYREDA VILA (Girona, 1843 - Olot, Girona, 1894)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Size: 26 x 41 cm; 43 x 58 cm (frame).Founder of the landscape school of Olot, at the age of nine he began his studies under the guidance of Narcís Pascual, then director of the Olot School of Drawing. He moved to Barcelona around 1860 to study philosophy, and there he continued his artistic training in the studio of Ramón Martí Alsina. In 1865 he exhibited for the first time at the premises of the Society of Artists of Barcelona, and the following year he took part in an exhibition at the Sala Parés. In 1869 he founded the Centre Artístic-Cultural in Olot, which became a focal point of renewal and experimentation in the face of official academicism. In 1871 he travelled to Paris for the first time and came into contact with the Barbizon school and the first Impressionists. The outbreak of the Carlist War forced him to go into exile in France in 1872, where he remained for three years. On his return, he resumed the activities of the Artistic Centre, and Olot became a centre of attraction for Catalan painters, drawn by the paintings Vayreda exhibited in the Parés room. Works by Joaquín Vayreda are kept in the Thyssen-Bornemisza Museum, the MACBA in Barcelona, the National Art Museum of Catalonia, the Víctor Balaguer Museum in Barcelona, the Girona Art Museum and the Abbey of Montserrat.

IGNACIO GIL SALA (Barcelona, 1913 - 2003)."Mother and daughter".Oil on canvas.Signed in the lower right corner.Size: 33,5 x 25,5 cm; 55,5 x 47,5 cm (frame).After beginning his artistic training when he was only nine years old, Ignacio Gil Sala entered the School of Fine Arts in Barcelona, where his teachers were Félix Mestres and Vicente Borrás. In 1930, while still an apprentice, he was awarded the School's bronze medal, and in 1936 he won a scholarship for a study trip to Spain. Throughout his life Gil Sala devoted himself to travelling both on the Peninsula and in various Islamic and Latin American countries. He exhibited his work in Spain, France, the Philippines, Switzerland, the United States, Canada and Colombia, among many other countries, and his solo exhibitions were held in the galleries Costa (Palma de Mallorca, 1940), Augusta (Barcelona, exhibiting periodically since 1940), Lars Laine (Palm Springs, 1952), Toisón (Madrid, 1956), Cano (Madrid, exhibiting biannually since 1958) and Cézanne (Cannes, 1956 and 1966). From 1997 until his death, he showed his work regularly in the galleries of the Grup d'Art Escolà, which dedicated several tribute exhibitions to him after his death. Artistic and human recognition has been constant, although not as much as he deserved, such as the street dedicated to him by the town of Castelldefels, where he lived, or the fact that the Island Council of the Balearic Islands awarded him a prize for the numerous times he immortalised the lands, people and sea of Ibiza. An extraordinary draughtsman, agile with pencil and charcoal, Gil Sala immortalised landscapes from all over Spain, Mediterranean fishing ports, different European cities, etc., all captured with a resounding brushstroke and studied colouring. His awards include the Silver Medal of the Barcelona School of Fine Arts (1930), the First Medal at the International Exhibition in Palma de Mallorca (1941), the prize at the National Exhibition in Barcelona (1944), and two first prizes and an extraordinary first prize at the Painters of Africa Exhibition (1955, 1960 and 1961). Likewise, after his death, several tributes were paid to him, including the exhibitions held at the Terra Ferma gallery in Lleida in 2004 and the Salduba gallery in Zaragoza in 2007, both belonging to the Escolà Group.

JOSEP SERRASANTA (Buenos Aires, Argentina, 1916 - Valldoreix, Barcelona, 1998)."Popular types".Oil on canvas.Signed in the lower left corner.Measurements: 65 x 92 cm; 85 x 112 cm (frame).Born in Argentina although of Catalan parents, Josep Serrasanta lived in Catalonia since his childhood. There he studied at the School of Arts and Crafts of La Lonja, and completed his training as a disciple of Francesc Gimeno. Although he also tackled other themes such as still life, he soon achieved fame thanks to his beautiful landscapes of small abandoned villages, and also for his popular types, such as his famous gitanillas de Barcelona ("little gypsies of Barcelona"). He also cultivated mural painting, producing in this field in tempera, fresco and oil decorations in various Catalan churches. Particularly noteworthy are the admired murals he painted in the church of Santa Maria de Castelldefels (1950-58), as well as the paintings of the three domes of Lleida Cathedral. He had solo exhibitions in Tarrasa and later in the Augusta galleries in Barcelona in 1950. He also held personal exhibitions on several occasions in Madrid, Bilbao, Valencia, Paris and various cities in the United States and Japan. His work, which is traditional in concept, is notable for its energetic use of the palette knife and vibrant chromaticism. In 1964 he won the Grand Prix International de Cannes, and later the French government awarded him the Grand Croix du Commandeur au Mérite National Française. He is currently represented in various public and private collections, mainly in Catalonia.

GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)"Arab scene".Oil on canvas.Attached certificate issued by Dr. Gerardo Calero.Signed in the lower right corner.Measurements: 90 x 93 cm.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France together with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.

LAUREANO BARRAU BUÑOL (Barcelona, 1864 - Santa Eulària des Riu, Ibiza, 1957)."Flowerpot with Lemon Tree".Oil on canvas.Signed in the lower right-hand corner.Measurements: 62 x 46 cm; 74 x 58 cm (frame).In this work the author gives prominence to a lemon tree, which in a certain way isolates from the landscape, which is closed by nature. In such a way that the artist focuses his attention on the luminosity of the scene, the bright colours and the play of shadows, thus creating an image of tactile qualities, which in a certain way transport the viewer. Laureano Barrau was born into a bourgeois family, the son of an industrial engineer and businessman. He began his training at the School of Fine Arts in Barcelona, where he was a pupil of Antonio Caba. Shortly afterwards he travelled to Madrid to broaden his training by studying the great masters of the Prado Museum. In 1884 the Barcelona City Council granted him the Fortuny Pension to extend his studies in Rome for three years. However, with the money from the travel grant Barrau moved to Paris, where he entered the Academy of Fine Arts, with Jean-Léon Gérôme as his tutor. In 1885, already in Rome, he studied the Italian masters and began to send to Barcelona the works that corresponded to him as a boarder. From 1887 he exhibited regularly at the Sala Parés in Barcelona, one of the most important Spanish galleries of the time, and the most prominent in Catalonia. That year his painting "The Surrender of Gerona" was a great success with critics and the public, as it represented a totally personal treatment of the genre of history painting, more vibrant and emotive. At the same time, Barrau frequently took part in official exhibitions both nationally and internationally. In 1888 he was awarded a second medal at the International Exhibition in Barcelona and a second prize at the Universal Exhibition in Brussels. Three years later, in 1891, he was awarded the title of member of the Salon de la Société Nationale des Beaux-Arts in Paris, and the following year he was awarded a third medal at the National Exhibition of Fine Arts in Madrid for his work "Escardadora". In 1904 he won a second medal at the same exhibition for "Taponeras del Ampurdán". Barrau also held numerous individual exhibitions and took part in group exhibitions in Paris, Barcelona, Madrid, New York and Rome. In 1909 he settled in Buenos Aires, where his work enjoyed the same success and recognition as it had in Spain and Europe, and after returning he settled permanently in Ibiza in 1911. From there he continued to show his work both in Spain and abroad, and in 1929 he was appointed "Societarie" of the Paris Salons. Barrau's work is based on an initial language linked to his neoclassical training, and evolves to reach a new concept characterised by luminosity and chromatic transparencies. To this day, the work he produced in Santa Eulària des Riu (Ibiza) at the end of his life is considered to be the best of his output. Laureano Barrau is currently represented in the Prado Museum, the Getty Museum in California, the Museums of Contemporary Art in Madrid and Barcelona, his house-museum in Santa Eulària des Riu and in various museums in Paris, Buenos Aires, Montevideo and Rio de Janeiro, as well as in important national and international private collections.

LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929)."Coastal landscape".Oil on canvas.Signed in the lower right-hand corner.Size: 100,5 x 122,5 cm; 133 x 155,5 cm (frame).The light was the great protagonist of Lluís Graner's work, both in his paintings of interior, where a quinque lighting illuminates the faces congregated in the half-light of the home, and in landscapes like the one we are dealing with, where a diffuse light reverberates everywhere: filtering from the lightly vaporous sky, it slides along the rippling surface of the sea, making land and sky, horizon and mountain dialogue.Luis Graner trained at the Escuela de La Lonja in Barcelona, where he was a pupil of Benito Mercadé and Antonio Caba, and in 1886 he moved to Paris thanks to a grant from the Diputació de Barcelona. During his five years in the French capital he won two third place medals at the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settling back in Barcelona in 1891, he continued to take part in important international exhibitions, such as those of Berlin (1891), Munich (1892) and Düsseldorf (1904). He also submitted works to the National Fine Arts Exhibitions, winning third medals in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organised his "musical visions", shows that combined poetry with music, scenography with cinema. Collaborating with him at this stage were Adrià Gual as director of the performances and Segundo de Chomón, as well as well-known poets (Verdaguer, Carner), musicians (Morera, Lambert) and contemporary stage designers (Moragas, Alarma). At the same time, Graner organised the first talkies, using the technique of placing actors behind the screen to lend their voices. Finally, ruined, he moved to America, where he returned to painting. He made several trips around the United States and Latin America, spending most of his time between New York, where he painted his first solo exhibition in 1910, and California. In 1928 he returned to Barcelona shortly before his death. His paintings, realistic in form, depict the everyday life of humble people, although he also painted landscapes and portraits. In his interior scenes he showed a profound influence of Latour, learned in his Parisian years, which led him to focus on the expressiveness of artificial light. Specialising in genre painting, he also produced landscapes and portraits. His work can be found in the Prado Museum, the MACBA in Barcelona, the National Art Museum of Catalonia, the Hispanic Society in New York and the Balaguer Museum in Vilanova i la Geltrú, among others, as well as in important private Catalan collections.

PERE JOU FRANCISCO (Barcelona 1891 - Sitges, 1964)."Prou", 1939.Bronze sculpture on marble base.Signed on the base.The base has slight cracks in the corners.Measurements: 39 x 12 x 13,5 cm. Pere Jou was a well-known Catalan sculptor, intimately related to the town of Sitges where he left an important sample of his work. From a young age he combined his work as a sculptor with that of a carpenter and cabinetmaker. He studied at the Ateneo Obrero de Gracia, where he was a disciple of Pablo Gargallo, who recognised his talent and reinforced it by giving him the opportunity to participate in the impressive sculptural work at the Hospital de Sant Pau. At the age of twenty-five, the painter Miquel Utrillo chose him as the sculptor for the decoration of the Maricel Palace that the millionaire Charles Deering was building in Sitges. Jou created more than fifty capitals, lintels and other decorative elements, all richly carved with images taken from famous fables, as well as contemporary events and characters whose faces were inspired by his work colleagues or local people. In 1931 he held his first individual exhibition at the Galeries Laietanes in Barcelona. After the Civil War he devoted himself mainly to the restoration of religious imagery damaged during the conflict and later devoted himself to teaching at the Massana School in Barcelona. His most famous works are the alabaster columns that flank the throne of the Virgin of Montserrat.

CANALS STUDIO (Catalonia, 1925-1995)."Alicia", 2001.Oil on canvas.Presents signature with anagram, date and title on the base.Measurements: 41 x 50 cm; 52 x 62 cm (frame).Child portrait on a neutral background that focuses all the attention on the girl's face and her innocent posture on the table. The piece recovers to some extent the atmosphere of the Spanish still life of the 17th century, which can be seen in the background, and the completely sober horizontal wooden table.Estudio Canals was an artistic group created in Barcelona in the 1970s. It was a small group of painters who took their inspiration from the classics, thus bringing the painting of the great masters closer to modernity. Its greatest representative was the painter Miguel Canals, a great connoisseur of techniques and languages from different periods. He bequeathed us a huge variety of works inspired by the Renaissance, the Baroque, Impressionism... Seurat's bathers, Monet's water lily pond, Pissarro's landscapes, Degas's dancers, English hunting scenes, Venetian capriccios, Van Gogh's igneous fields, Quattrocentist virgins... Canals, with his virtuosity and versatility, made a name for himself among art history collectors. Although he did not try to copy, but to create a kind of symbiosis with the original. A connoisseur of ancient techniques, he sometimes gave his paintings a period patina, but without intending to deceive; rather, as he said, he wanted future experts to know that it was a contemporary work.

Football, Marc Overmars signed colour photograph mounted in a frame. This colour Barcelona photograph has a clear signature from the player in black marker pen and is mounted in a white cardboard frame. Overall size is 12x10.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

French Dinky Toys Poch No. 520 Fiat 600D comprising a blue body with red interior and concave hubs with "Pirelli" tyres, a play worn example of a rare model (G), French Dinky 'Poch' series were set a of Dinky Toys sent to The Novades Poch Company in Barcelona for painting & assembly.

French Dinky Toys Poch No. 523 Simca 1500 in bright blue with a red interior, and concave hubs with "Pirelli" tyres, a rare Dinky-Poch model in very good condition (VG), French Dinky 'Poch' series were a set of Dinky Toys sent to The Novades Poch Company in Barcelona for painting & assembly.

French Dinky Toys Poch No. 519 Simca 1000 in red with a cream interior and concave hubs with "Pirelli" tyres, a rare Dinky-Poch model in good condition (VG), French Dinky 'Poch' series were set of a Dinky Toys sent to The Novades Poch Company in Barcelona for painting & assembly.

After Ludwig Mies van der Rohe; "The Barcelona Chair" (late edition, one-piece frame) with distinct flat section chromed steel cantilever frame and black deep buttoned black leather back and seat. squabs. 66 cm wide x 83 cm deep x 75 cm overall height, 46 cm high to the seat. The Barcelona chair was designed by Ludwig Mies van der Rohe for the German pavilion at the International Exposition in 1929 hosted in Barcelona, Catalonia, Spain.

Sessel Antonio Gaudi & Juan BusquetsAnfang 20. Jh., von Antonio Gaudi für den Palais Güell in Barcelona entworfen und später von Busquets angefertigte, etwas schlichtere Variante in massivem Mahagoni, mit ockerfarbenem Lederpolster und Messingziernägeln, elegant geschwungener Sessel, die Armlehnen leicht seitlich ausgestellt und in einem Rundbogen in die Vorderbeine übergehend, die Kanten leicht profiliert, restauriert, Polster und Lederbezug erneuert, Maße 73,5 x 62 x 62 cm. Künstlerinfo: Antoni Gaudí i Cornet (1852 Reus bis 1926 Barcelona) war ein spanischer Architekt und herausragender Vertreter der katalanischen Bewegung des Modernismus.Quelle: Pierre Kjelberg, Le mobilier du XXe siècle, dictionnaire des créateurs, éd. de l'Amateur, Paris, 1994, S. 260.

Vier Sessel Antonio Gaudi & Juan BusquetsAnfang 20. Jh., von Antonio Gaudi für den Palais Güell in Barcelona entworfen und später von Busquets angefertigte, etwas schlichtere Variante in massivem Mahagoni, mit ockerfarbenem Lederpolster und Messingziernägeln, elegant geschwungene Sessel, die Armlehnen leicht seitlich ausgestellt und in einem Rundbogen in die Vorderbeine übergehend, die Kanten leicht profiliert, ein Sessel gemarkt mit Herstelleretikett in Messing "Juan Busquets Ciudad 9 Barcelona", restauriert, Polster und Lederbezug erneuert, Maße 73,5 x 62 x 62 cm. Künstlerinfo: Antoni Gaudí i Cornet (1852 Reus bis 1926 Barcelona) war ein spanischer Architekt und herausragender Vertreter der katalanischen Bewegung des Modernismus.Quelle: Pierre Kjelberg, Le mobilier du XXe siècle, dictionnaire des créateurs, éd. de l'Amateur, Paris, 1994, S. 260.

Salvador Dali, attr., "Dahlia Unicornis" weite Landschaft mit der fantasievollen Darstellung eines springenden Pferdes, aus dessen Kopf eine Dahlie wächst, im Hintergrund Einhorn und Frauengestalt, Werksverzeichnis Michler/Löpsinger 227 b, Radierung und Aquarell auf Japanpapier, 1968, unter der Darstellung in Blei rechts "Dali" und links nummeriert "81/175", minimal gegilbt und ein wenig fleckig, unter Passepartout und hinter Glas gerahmt, Plattenmaße ca. 58 x 38,5 cm, beigegeben Orginalitätsbestätigung der Galerie im Taschenbergpalais in Dresden. Künstlerinfo: eigentlich Salvador Dali y Domenech, bedeutender spanischer Maler, Graphiker und Illustrator (1904 Figueras bis 1989 Figueras), ab 1916 Unterricht im Kolleg der Maristen, ab 1922 Studium an der Academia San Fernando in Madrid und an der Escuela Catalana in Barcelona, 1928 Parisreise zu Pablo Picasso, hier 1929 Anschluss an die Surrealistengruppe um Breton, deren bedeutendster Vertreter er werden sollte, 1934 Heirat mit Gala und USA-Reise, tätig in Portlligat bei Cadaqués, nach Ausbruch des Bürgerkrieges in Spanien Reise nach London und Italien, 1940-48 Übersiedlung nach Cleveland Ohio/USA, zurückgekehrt tätig in Figueras und Púbol, Quelle: Vollmer und Internet.

Sessel Antonio Gaudi & Juan BusquetsAnfang 20. Jh., von Antonio Gaudi für den Palais Güell in Barcelona entworfen und später von Busquets angefertigte, etwas schlichtere Variante in massivem Mahagoni, mit ockerfarbenem Lederpolster und Messingziernägeln, elegant geschwungener Sessel, die Armlehnen leicht seitlich ausgestellt und in einem Rundbogen in die Vorderbeine übergehend, die Kanten leicht profiliert, restauriert, Polster und Lederbezug erneuert, Maße 73,5 x 62 x 62 cm. Künstlerinfo: Antoni Gaudí i Cornet (1852 Reus bis 1926 Barcelona) war ein spanischer Architekt und herausragender Vertreter der katalanischen Bewegung des Modernismus.Quelle: Pierre Kjelberg, Le mobilier du XXe siècle, dictionnaire des créateurs, éd. de l'Amateur, Paris, 1994, S. 260.

Joan Hernández Pijuan (1931-2005), katalanischer Maler und Grafiker, stud. in Barcelona, wo er selbst ab 1976 ein Professur innehatte. Blüte in blauem Rahmen, Farbaquatinta, u. re. handsign. u. dat. (19)97, u. li. num. 7/50, 24 x 32 cm, hinter Pp. 45 x 53 cm

ANTONI TAPIES (1923 Barcelona - 2012 ebenda) - Farblithografie auf Bütten, ¨Oval gris¨ (1987)¨, unten rechts in Bleistift signiert ¨tapies¨, Ex. 71/100, ca. 74x104,5cm (montiert), gerahmt (90x120cm)

ANTONI TAPIES (1923 Barcelona - 2012 ebenda) - Farbradierung, ¨Abstrakte Komposition in schwarz-violett auf grünem Grund¨ (1968), unten rechts in Bleistift signiert ¨tapies¨, Ex. 27/100, Motivmaß ca. 38x28cm, gerahmt (80,5x60cm)

Mark Hughes signed 12x8 colour photo. During his playing career he usually operated as a forward or midfielder. He had two spells at Manchester United, and also played for Barcelona and Bayern Munich, as well as the English clubs Chelsea, Southampton, Everton and finally Blackburn Rovers. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

δ Joan Miró (1893-1983)From Oda à Joan Miró (Mourlot 903)Lithograph printed in colours, 1973, with the stamped signature, from the edition of 1500, published by Edicions Polígrafa, S.A., Barcelona, on Guarro wove paper, the full sheet printed to the edges, sheet 437 x 330mm (17 ½ x 13in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

FOOTBALL, programmes for British clubs in Europe, 1960s-70s, inc. Glentoran v Antwerp 1965, Liverpool v Vitoria Setubal 1969, Hearts v Hamburg 1976, Sheffield Weds v Barcelona 1962, West Ham v Olympiakos 1965 & Lausanne, Dundalk v Eindhoven 1976, Chelsea v TSV 1966 etc., G to EX, 20

Glassware - Cranberry Cut Glass bowl; Art Deco cut glass tray ,trinket dish, a pair of candlesticks; novelty Barcelona brandy decanter; Glass fruit, apple , orange, pear; etc

A 'Barcelona' style easy chair and ottoman, after the design by Ludwig Mies Van Der Rohe, black buttoned leatherette cushions, chrome frame, chair width 77cm, depth 77cm, height 75cm.Qty: 2

A black leather Barcelona chair, width 77cm, depth 32cm, height 80cm and an ottoman

J. Craig Thorpe (American, B. 1948) "Spanish Renfe 2-4-2 Express Messenger" Signed lower left. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c Spanish Renfe 4-8-4 stamp issued August 23, 1996. Only 10 Class 242s were built for Spain's Rede Nacional de los Ferrocarriles Espanoles (RENFE). Constructed by La Maquinista Terrestre y Maritima of Barcelona in 1955 to 1956, they were finished in resplendent green -- the only RENFE locomotives to wear this color. Class 242s were used on express passenger trains between Medina and Avila and on non-electrified portions of the run from Madrid to Irun at the French border. They burned oil portions rather than coal and were wide-gauge engines -- the Spanish gauge being 5 feet 6 in instead of the more customary 4 feet 8 1/2 in. Rolling on 75-inch spoked driving wheels, 242s exceeded 200 tons and were intended for climbing hills. They could run at speeds of 84 mph while carrying loads of 480 tons. Class 242s were among the last steam locomotives built in Western Europe and were the last European express locomotive class built. Image Size: 10 x 13.25 in. Overall Size: 13.75 x 18 in. Unframed. (B15329)

Autographs, The Olympics, Athletics and Sports, including Olympic Games, London 1948 Programme & Guide, paper bound 12 x 18cm 48pp; 1952 Helsinki Olympic Games, British Olympic Association Official Report, card bound 21 x 26.5cm. 114pp numerous illustrations; 1992 Barcelona Olympics Official Souvenir Programme, glossy card binding 21x 22.5cm. 246pp. illustrated in colour; also three autograph albums: 10.5 x 8cm card-bound, containing autographs of various athletes from the 1930s, including cycling champion Reg Harris; another 14 x 11cm bound in faux snakeskin, autographs of athletes and Olympic and other record holders, especially 1952 Olympics, particularly competitors from foreign countries, including Bob Tisdall, Irish hurdles gold medallist from 1932; another, 18.5 x 12cm, autographs of athletes competing in 1954 European Championships in Bern, Switzerland including many disciplines and from many participating nations, including Philp Noel-Baker (later Labour MP Derby), Diane Leather and Shirley Cawley, also from football, Tim Ward (Derby County player, later manager) and Jackie Stamps who scored two goals for Derby against Charlton Athletic to win the 1946 FA cup final; also a white metal linked bracelet with 15 silver coins attached (one detached), mainly UK threepences and empire equivalents, in jeweller’s box, [1]

Football Lionel Messi signed Barcelona home shirt. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A Barcelona 92 cap

Football memorabilia; Manchester United programmes for games in European competitions, including Real Madrid 1957, Dukla Prague 1957, Wembley Final v Benfica 1968, European/South American Cup 1968 v Estudiantes, 1991 Cup Winners Cup Final v Barcelona, etc. (11)

A Barcelona style chrome cross frame chair and stool, with black vinyl seats, both with webbing missing

Barcelona v PSG Cup Winners Cup 1997 14th May 1997 Rotterdam very good condition 

Original vintage sport poster for 1982 FIFA World Cup Argentina versus Belgium football game that took place at Barcelona Camp Nou stadium on 13 June 1982, the poster features a dynamic illustration of a goalkeeper jumping up to catch the ball and other players in front of the goal, with the surnames of the players listed below the image. Argentina and Belgium were playing in Group 3 of the World Cup, the game finished with a 0-1 win by Belgium; Italy was the champion of the 1982 FIFA World Cup, with West Germany in second place, Poland in third, and France in forth place. Lithograph by Ortega S.A. Barco 14 Valencia, Spain. Very good condition, minor creasing, finger prints on bottom edge, small tears on margins. Country of issue: Spain, designer: Donat Gouri, size (cm): 97x54, year of printing: 1982.

Original vintage sport poster for FC Barcelona versus Real Zaragoza CD football game Partido Final Campeonato de Espana Copa / Final Match Spanish Championship Cup that took place on 26 April 1986 at the Vicente Calderon stadium in Madrid. The poster features a dynamic illustration of a goalkeeper jumping up to catch the ball and other players in front of him, with the surnames of the players listed below the image. Lithograph by Ortega S.A. Barco 14 Valencia, Spain. Very good condition, minor creasing, small tears on margins. Country of issue: Spain, designer: Donat Gouri, size (cm): 97x54, year of printing: 1986.

CLAVÉ, Antoni (*05.04.1913 Barcelona +08.2005 St. Tropez), Lithographie, Abstrakte Kompostioin, unten links num. II/ L, rechts signiert, 55,5 x 76 cm, linker Rand wasserfleckig

7-tlg. Konvolut Design-Miniaturstühle Vitra Design Museum 1) Ludwig Mies van der Rohe und Lilly Reich: Miniatur MR90 Barcelona, Entwurf 1929 anlässlich der Weltausstellung. 2) Josef Hoffmann: Miniatur Sitzmaschine, Entwurf 1905 in Bugholztechnik. 3) Ghyczy: Miniatur Garden Egg, ursprünglich als Gartenstuhl konzipiert, Entwurf 1968. 4) Verner Panton: Miniatur Heart-Shaped Cone Chair, Eisenblech und roter Stoff, Entwurf 1958. 5) Michael Thonet & Sons: Miniatur Stuhl No. 14, gehört weltweit zu den erfolgreichsten Produkten der industriellen Maßanfertigung und gilt als der typische Wiener Kaffeehausstuhl, Entwurf 1859/60. 6) Ron Arad: Miniatur Well Tempered Chair, seine Form ergibt sich nur durch das Verschrauben der gespannten Bögen, Entwurf 1986. 7) Mart Stam: Miniatur Stuhl W1, lackiertes Stahlrohr und Stoffbänder, Entwurf 1926. H. 12 bis 16 cm, Maßstab 1:6. - Alle in Originalverpackung.Design, Designmöbel, Designstuhl, Modell

A two seater Barcelona style sofa (H83cm W154cm D72cm)

‡ DOMINGO ALVAREZ GOMEZ (Spanish, b. 1942) pastel - Girl in white dress, signed, 37 x 31cm (unframed), with associated book signed by the artist, entitled "Domingo - Un Pintura Amable", Barcelona 2004 (2)Provenance: With Masters Art Galerie, Palm de Mallorca 1997; private collection West Wales.Comments: published Domingo - Un Pintura Amable, Barcelona 2004, p. 51

A Spanish Modernist silver silent butler or serving dish and cover, Barcelona circa 1950s, heavy gauge circular pan form with hinged lid and angled thumb piece, tapered teak handle, 26cm long, 16.46ozt

MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."Palestine", 1979.Wax on paper.Signed and dated in the lower right-hand corner; titled in the left-hand corner.With Dau al Set gallery label on the back.Measurements: 54 x 42 cm; 77 x 65.5 cm (frame).Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he took part in the founding of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the outset a strong kinship with surrealism, as well as a great sensitivity towards the expressive power of colour. Towards 1955 he immersed himself in material informalism, which led him to use "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduced collage into his work in 1962, which gradually led him towards pop art. Enriched by all these experiences, he returned to flat painting, achieving a very personal critical realism, which synthesises expressionism with dramatically transformed figuration, always valuing chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. He also took part in a group exhibition at the Palais de l'UNESCO in Paris, and was awarded the Cross of Saint George by the Generalitat de Catalunya and the Cross of Isabella the Catholic. In 1988 he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colours and forms, and reincorporates a more material figuration into his work. In 1998 the foundation named after him was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Contemporary Art Museums of Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."Momme", 1979.Wax on paper.Signed and dated in the lower right-hand corner; titled in the left-hand corner.With Dau al Set gallery label on the back.Size: 54 x 42 cm; 77 x 65,5 cm (frame).Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he took part in the founding of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the outset a strong kinship with surrealism, as well as a great sensitivity towards the expressive power of colour. Towards 1955 he immersed himself in material informalism, which led him to use "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduced collage into his work in 1962, which gradually led him towards pop art. Enriched by all these experiences, he returned to flat painting, achieving a very personal critical realism, which synthesises expressionism with dramatically transformed figuration, always valuing chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. He also took part in a group exhibition at the Palais de l'UNESCO in Paris, and was awarded the Cross of Saint George by the Generalitat de Catalunya and the Cross of Isabella the Catholic. In 1988 he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colours and forms, and reincorporates a more material figuration into his work. In 1998 the foundation named after him was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Contemporary Art Museums of Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

JAUME PLENSA (Barcelona, 1955).Untitled, 1987.Aquatint etching on copper plate, copy 4/50.Signed and justified in pencil.Size: 18 x 18 cm (print); 50 x 37,5 cm (paper).Jaume Plensa studied at the Llotja School and the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MoMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

LUIS GORDILLO (Seville, 1934)"Four eyes", 1990.Mixed media on canvas.Signed, dated and titled on the back.Size: 35 x 54 cm; 40 x 59 cm (frame).This work was conceived by the artist at a time when, after abandoning the pop style, he decided to contribute to a more abstract language. However, in this piece we can appreciate, slightly, this oscillation of styles that interweave with each other, contributing a totally new and personal aesthetic language. It is worth noting that during the nineties he produced several works in which the eyes played a leading role, thus creating a work that looks at the spectator, an active piece that no longer depends on being observed by the public.Luis Gordillo is one of the leading figures of abstract art in Spain. A contemporary of the Spanish informalists of the 1950s, Gordillo is nevertheless considered the pioneer of one of the most significant trends in Spain in the 1970s, the figuration of Madrid. He initially studied law in his native Seville, but soon abandoned this career to devote himself to painting, enrolling at the School of Fine Arts. In 1958 he travelled to Paris, where he became interested in the work of Jean Fautrier and Jean Dubuffet. During these years he followed an aesthetic path linked to Art Autre and Dau al Set, and held his first exhibition at the Sala de Información y Turismo in Seville (1959). He returned to Paris, and it was then that his painting moved back towards figuration, revealing influences of Francis Bacon and American Pop Art. Thus, in the early 1960s his series of Heads and Motorists was the first non-mimetic incursion by a Spanish artist into international Pop art. During these years, moreover, his work was enriched by his incursions into psychoanalysis. He then temporarily abandoned painting and devoted himself to automatic drawing, exhibiting the fruits of this work in 1971 in Madrid. This exhibition was key for a whole generation of young artists, those who would initiate the new figuration in Madrid. During the seventies Gordillo transferred these automatic line drawings to canvas and filled them with colour. In the eighties and nineties his language continued to evolve, crystallising in a colder painting, both in terms of colour and in his personal detachment from the themes, placing himself halfway between the previous figuration and the new formulas of post-modern abstraction. Of great international prestige, Gordillo has been awarded the Premio Nacional de Artes Plásticas (1981), the Medalla de Oro al Mérito en las Bellas Artes (1996), the Medalla de Oro del Círculo de Bellas Artes de Madrid (2004), the Premio Velázquez de Artes Plásticas (2007) and the Premio Nacional de Grabado (2012). He has also been the subject of important exhibitions, such as the anthological exhibition of his graphic work held at the Calcografía Nacional in 2012. Throughout his career he has had solo exhibitions all over the world, and is currently represented at the Reina Sofía Museum in Madrid, MACBA in Barcelona, the Juan March Foundation, the ARTIUM in Vitoria, the Patio Herreriano Museum in Valladolid, the Gulbenkian Foundation in Lisbon, the Folkwag Museum in Germany, etc.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Les Revolutions Sceniques du XX Siecles II", 1975.Colour lithograph, H.C. copy.Signed and numbered in pencil.Slight mark in the left margin.Bibliography: Maeght Editeur. Joan Miró Lithographs, vol. V 1972-1975. Maeght Editeur: Paris, 1992. Listed and illustrated as catalogue raisonné no. 1079 on pg. 179 and 181.Size: 30,5 x 24 cm (print); 55,5 x 37,5 cm (paper).Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. This lithograph shows us the most essentialist Miró in his search for minimal and suggestive forms. Ranges limited to a few colours applied to flat, shiny surfaces combine to evoke the lyrical communion between man and his environment.

MARTIN MUGNOLO (Argentina,1973)."Reflections of your light".Oil on canvas.Size: 92 x 65 cm.Painter. He studied Fine Arts as an autodidact while he was getting his degree in Communication Sciences at Blas Pascal University. Always restless, he was interested in design, comics and illustration. He also dabbled in photography, cartoons and wrote a book (Leeme publishing house). For more than 12 years he developed numerous advertising campaigns as a designer and advertising creative. He has exhibited his work in Buenos Aires, Cordoba, Mykonos, Marbella, Malaga, Miami, New York and Barcelona (where he currently lives). His fascination for the beauty of hyperrealist figures and the mysticism of surrealism led him to develop different styles that coexist in him to express his personal experiences. His works show a refined technique and a keen sense of observation that translates into images of great beauty. EXHIBITIONS: 2017 Galleria del Duomo, Roma, ITA 2016 - Minima Galery. Mykonos, GRE. 2016 - Max & Sim Gallery. Barcelona, ESP. 2015 Javier Román Gallery. Marbella, ESP. 2015 María Elena Kravetz Gallery. Córdoba, ARG. 2013 Montcada Gallery. Barcelona, ESP. 2013 Mosaic Zoo Gallery. Mykonos, GRE.2012 Art Studio Gallery. Mykonos, GRE.2009 Sacred Art Biennial Award, Bs As, ARG. 2008 Form Gallery. Palermo Soho. Bs As, ARG. 2005 Caesarea Gallery. Boca Raton. Fl, USA. 2004 Recoleta Gallery. Buenos Aires, ARG. 2001 Marchiaro Gallery. Córdoba, ARG. 2000 Jockey Club Córdoba, ARG.

SALVADOR DALÍ Y DOMÈNECH (Figueres, Girona, 1904 - 1989)."Etude por le tableau Nature morte vivante (1956) et croquis éroques", circa 1956.Black ink on paper.Attached certificate issued by Archives Descharnes, file no. d 6976.With stamp of the Perrot-Moore collection.It presents frame with faults and damages.Measurements: 30.8 x 20 cm; 57 x 51 cm (frame).In this study carried out around 1956, Salvador Dalí presents a still life in which the objects that make up the still life are levitating with respect to the table, such as the bottles and the fruit (or spheres). A mode of representation that he later developed in the painting of the same name, which is in the Salvador Dalí Museum in St Petersburg, Florida. Thus describing what Dalí called "nuclear mysticism", in which objects form an independent part of space, floating in a concrete and conceptual area, a revolutionary characteristic in the world of pictorial representation. In this sketch, Dalí not only presents this innovation, but also sketches several bodies, or anatomical sections with a highly erotic content, a frequent feature in many of his works. It should be noted that the work bears the hallmark of the Perrot-More collection, whose owner, John Peter Moore, was Dalí's personal secretary, who worked with the artist from 1960 to 1974.During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache in imitation of Velázquez's, which was to become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which depicted scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades and the Salvador Dalí Gallery in New York.

ÁNGEL FERRANT VÁZQUEZ (Madrid, 1891 - 1961)."Bather", 1945.Carved wood sculpture in natural colour.Work recorded in the exhibition catalogue: Dallas, Meadows Museum, "Modern Spanish Art. 1915-1957. From the Asociación Colección Arte Contemporáneo", 9 October 2016 - 29 January 2017, pp.Attached is a custom-made wooden box.In good condition.Measurements: 26 x 9 x 4 cm.PROVENANCE:María Soledad Lissarrague Collection (widow of the artist), Madrid.José Luis Lissarrague Leis Collection, Madrid.Private collection (until 2017 Contemporary Art Collection).Private collection, Madrid.EXHIBITIONS:Madrid, Biosca Gallery, "III Salón de los Once", 1946.Madrid, Colegio Mayor Antonio de Nebrija, "IV Art Exhibition", 1956.Madrid, Darro Gallery, "From the Exhibition of Iberian Artists to the A.D.N.L", 1960.Madrid, Neblí Gallery, 1961.Madrid, Palacio de Cristal, "Ángel Ferrant", 1983.Schwabenlandhalle Fellbach, Wilhelm Lehmbruck Museum, Duisburg, "5 Triennale Fellbach 1992: Kleinplastik in México, Spanien, Italien, Deutschland", 1992.Madrid, Barcelona and Palma de Mallorca, Fundación "La Caixa"; Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, "Ver a Miró: La irradiación de Miró en el arte español", 1993.Madrid, M.N.C.A.R.R.S.; La Coruña, Museo de Arte Contemporáneo Unión Fenosa and Mallorca, Fundación Pilar y Joan Miró, "Before Informalism: Spanish Art 1940-58 in the Contemporary Art Collection", 1996-98.Zaragoza, Museo Pablo Gargallo, "Ángel Ferrant in the Contemporary Art Collection", 1997-98.Madrid, M.N.C.A.R.S. and Barcelona, Museu d'Art Modern, "Ángel Ferrant", 1999.Madrid, Fundación Caja Madrid; Segovia, Museo de Arte Contemporáneo Esteban Vicente and Madrid, Sala de las Alhajas, "Un bosque en Obras: Vanguardias en la escultura española en madera", 2000.Valladolid, Museo Patio Herreriano, "Permanent Collection: Drawing in Space", 2002.Barcelona, Museo Nacional de Arte de Cataluña, "El mon de l'objecte catalá a la llum del surrealisme", 2007.Valladolid, Museo Patio Herreriano, "Objeto/References: Contemporary Art Collection", 2013.Madrid, Real Academia de Bellas Artes de San Fernando, "Experiencias de la Modernidad: Arte en España, 1916-1956", 2013.Dallas, Meadows Museum, "Modern Spanish Art. 1915-1957. From the Asociación Colección Arte Contemporáneo", 9 October 2016 - 29 January 2017.BIBLIOGRAPHY:E.Llorente, "Arriba", 1949, rep.p.3.A.G.Pericás, "Arte Español 1925-1935: Sala Darro", Acento Cultural, 1960, b/w.rep.p.6 and supplement 7-8.R.Gullón, "Ideas abstractas sobre escultura concreta", Madrid, Papeles de Son Armadans, 1961, pp.40-41.A.G.Pericás, "Acento Cultural", vol.II, 1961, p.18 and supplement 27-30.A.G.Pericás, "La estructura de A.Ferrant", Acento Cultural, 1961, rep.b/w.p.18-20 and supplement 27-30.G.Nieto Gallo, Revista Goya, 1983, col.rep.pp.54-56 and 175-176.Ana Vázquez de Parga, "Ángel Ferrant", 1983, p.147.Ana Vázquez de Parga, "Ángel Ferrant", Madrid, Ministry of Culture, 1983, rep.b/w.p.43, 62 and 147.J.Arnaldo, "La escultura de Ángel Ferrant", La balsa de la Medusa, nº.21, 1992, rep.col.p.59.R.Barilli et al., "5 Triennale Fellbach 1992: Kleinplastikin México, Spanien, Italien, Deutschland", Fellbach, Ed.Cantz, 1992, p.138.Juan Manuel Bonet, et al., "Ver a Miró: La irradiación de Miró en el arte español", Barcelona, Fundación La Caixa, 1993, rep.col.p.140-41."Art in Spain", 1995, rep.col.p.121.Valeriano Bozal, "Antes del informalismo: Arte español 1940-1958 en la Colección Arte Contemporáneo", Madrid, M.N.C.A.R.S., 1996, rep.col.p.51 and 54.J. Arnaldo, C. Bernárdez and O. Fernández, "Ángel Ferrant en la Colección Arte Contemporáneo", Zaragoza, Ayuntamiento de Zaragoza, rep.col.p.37.C.Bernárdez, V.Bozal and V.Torrente, "Before Informalism: Spanish Art 1940-1958 in the Contemporary Art Collection, Mallorca, Fundación Pilar i Joan Miró, 1998, rep.col.p.54.

ABRAHAM LACALLE (Almería, 1962)."Composition".Silkscreen on paper, copy 11/35.Signed and justified in pencil.It presents damage in the inner area of the right side.Size: 120 x 98 cm.Abraham Lacalle began his career in the 80's, in 1994 he won the scholarship for artistic promotion of the Casa de Velázquez. In his canvases there are references to great masters such as Duchamp, Picasso, Mondrian or Philip Guston using a special subjectivity in the treatment of colour. In turn, there are ironic and sarcastic references to the great artistic and literary movements of the 20th century and an acid social criticism. The painter has been exhibiting in ARCO, through different galleries, since 1987 and has been collaborating for years with the Malborough Gallery. Works in collections: Museo Nacional Centro de Arte Reina Sofía, Madrid; Fundación Coca-Cola España; Fundación Luis Cernuda, Seville; Prosegur, Madrid; Fundación Santander Central Hispano; Universidad de Salamanca; Casa de Velázquez, Madrid; Colección Testimonio, Caixa de Pensiones, Barcelona...