ANTONI TÀPIES (Barcelona, 1923-2012).Untitled, ca.1950.India ink on paper.Signed in the lower right corner.Attached certificate issued by the Comissió Tàpies with ref. T-9943.Measurements: 45,5 x 31 cm; 77 x 60 cm (frame).This important drawing by Tàpies belongs to the first stage of Dau al Set (1948-1955), years in which the artist was permeable to a diversity of avant-garde manifestations, especially surrealism and literature linked to the unconscious and magical realism. This is evident in this composition populated by objects of ambivalent interpretation and suggestive hermetic echoes: the pyramid, the solar eclipse, the crescent moon, the muse on the divan, the enigmatic being with a masculine body, the dragon with the Japanese theater mask... The coded clues branch out and intertwine in rich palimpsests, already hinting at the semantic and mystical deployment that will characterize Tàpies' painting.Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prix de Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
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FOOTBALL, programmes, inc. first and last league games (4), Wigan 1978 & Hereford 1972; Oxford v Cambridge (18), 1960-1985, Nine played away from Wembley at Norwich, Dudley; EC matches 1969/70 onwards inc. Arsenal (22), v Rouen, Glentoran 1969/70, PSG 1993/4; Manchester City (6) Barcelona 2015, Sporting Lokern 2003, Liverpool (5), Rail Madrid 1964, Bronby 1993, Barcelona 2001 etc., VG to EX, 55*
FOOTBALL, programmes for European matches, inc. finals (5), EC & CL (4), Liverpool v Brugges 1978, Porto v Bayern Munich 1987, Barcelona (2) v Sampdoria 1992 & Manchester Utd 2011; ECWC, PSG v Rapid Vienna 1996; other EC matches, Wrexham v Anderlecht 1976, Cardiff v Moscow Torpedo 1968, Ipswich v AZ 67 1981, Leeds v Ujpest Doksa 1966, Chelsea v DWS, Skied v Ipswich 1979, Austria Memphis v Tottenham 1983/84, Basil v Real Madrid 2014, Anderlecht v Steaua Bucharest 1994, Ajax v AEK Athens 1994, Feyenoord v Arranes 1993, Sporting Lisbon v Real Madrid 1994, Ajax v Lazio 1995, Benfica v Bastia 1997 etc., VG to EX, 80*
FOOTBALL, Scottish programmes, 1960s onwards, inc. Glasgow Celtic European programmes, 1995-2013, inc., v Paris St Germain 1995, v Valencia 2001, v Liverpool 2003, V Barcelona 2004; special issue Friendlies v Ajax 2002 (2); other clubs in Europe (16), Dundee United v Standard Liege 1983, Hearts v PSG 1984, Aberdeen v Barry Town 1996, Kilmarnock v Nice 1997, Rangers v Anorthosis 1995, Internationals (12), v Brazil, Paraguay, Austria; Hibernian, Celtic, Dumbarton, Morton, Dunfermline; Scottish Cup, EX to MT, 90*
Barcelona Display Unit Is An Elegant Yet Practical Addition To Your Home Interior It Offers Plenty Of Room For Storage But Its Aesthetic Value Is Not Compromised In The Process In Fact The Inlaid Marble Panel With The Acacia Wood Finish Adds Rustic Charm And Beauty To Your Home Add This To Your Living Room Or In The Dining Area To Introduce Character Into The Room (With Missing Marble Lower Shelf) 1000 X 350 X 1580mm SR22 Ex Display Showroom Item
Barcelona Coffee Table Consistent With The Mid-Century Design Offered By The Barcelona Range You Can Also Expect The Same Aesthetic Sensibility With The Barcelona Round Coffee Table This Is A Low Table That Provides A Beautiful Focal Point In Your Living Room Decor With Its Acacia Wood Base And The Elegant Detail Of The Marble Top It Is The Perfect Choice Of Coffee Table To Complete Your Home Mid-Century Styling Theme The Round Shape Also Helps To Tie Together The Different Elements In Your Decor 800 X 800 X 400mm SR64 Ex Display Showroom Item
Original vintage sports poster for FIFA Football World Cup Spain 82 / Copa del Mundo de Futbol Espana 82, for the games of Group A and C held in 1982 in Barcelona, Spain, featuring a spray paint illustration in black, red, and white of shapes, crosses, and handwritten location and year set over Tribuna newspaper page, the logo of the games in the bottom right. Poland, Soviet Union, and Belgium played in the Group A, Italy, Brazil, and Argentina played in the group C, with Italy taking the champion title. Excellent condition. Country of issue: Spain, designer: Unknown, size (cm): 95x60, year of printing: 1982.
Original vintage advertising poster flyer for Exposicion General Espanola Sevilla - 1929 Barcelona - 1929 / General Spanish Exhibition Seville - 1929 Barcelona - 1929, featuring a stunning Art Deco illustration by Ricard Fabregas (1906-1947) depicting two Spanish ladies in long brown and blue ornate dresses with green and black shawls around their shoulders, and decorative headscarves covering their hair, with a sail ship at their feet and flags flowing in the wind behind them. Printed by Mateu Madrid. Horizontal. Good condition, foxing. Country of issue: Spain, designer: Fabrega, size (cm): 23x35, year of printing: 1928.
Original vintage sport poster Boxeo / Boxing - Design features images of different stances and punches including On guard, Crochet, Body, Uppercut, Direct and finishing with a knock-out. Printed in Barcelona. Horizontal. Good condition, browning, fold. Country of issue: Spain, designer: Unknown, size (cm): 28x38.5, year of printing: 1920s.
Original vintage propaganda poster - Obrero !a la mision! / Worker! To the mission! - featuring a stunning illustration by Battlori Jofre Antoni (1915-1999) of men walking through a red tile roof gates towards the church with quaint little streets and large factory chimney towering above the town. Editorial Balmes - Barcelona. Fair condition, tears, repaired tears, tape marks, tape, paper loss, pinholes, creasing. Country of issue: Spain, designer: Battlori Jofre Antoni, size (cm): 100x69, year of printing: 1940s.
Miscellaneous Lot comprising: Spain, (1) 2 x different sets of replica coins; each set contains 20 silver -plated replicas of Catalan coins from the earliest Iberian, Greek & Roman through the medieval period to the 19th century & provincial coins of Barcelona etc; each replica coin 22mm & fully detailed, each set of 20 coins housed in a fitted plastic case, issued by La Vanguardia newspaper, all BU; (2) five x gold-plated medallions commemorating the marriage of King Juan Carlos & Queen Sofia & each of their three children (Christina (2 medallions), Elena & Felipe), obvs conjoined busts, revs date & place of marriage, each medallion 30mm BU; (3) 2 x miniature gold replicas: 100 pesetas 1966 & Coronation of Juan Carlos commemorative medal 1975, each 10mm, 0.22g, .900 gold, BU, together with 9 x miscellaneous coins: Cuba 3 pesos 1992 & 2 x 25 centavos 1953 & 1992, Uganda 10 shillings 1987, Haiti 50 centimes 1991, USA half dollar 1966 numerous scratches on bust, Thailand 10 baht (1990s) & Spain 100 pesetas 1980 & 200 pesetas 1996; lot also includes a silver-plated nickel token commemorating the 25th anniversary of the founding of the Spanish newspaper 'El Mundo' & two small round polished brass boxes each with a Brazilian aluminium bronze coin sealed in the lid, one diam.38mm, height 28mm (coin 50 centavos 1949), other diam. 28mm, height 18mm (coin 10 centavos ('Jose Bonefacio'), each with 'M B Morais' stamped on base
A Collection of Approximately 250 x Foreign Banknotes, wide range of countries, particularly Far Eastern & South American countries, mixed grades; lot also includes a further 160 notes comprising Spain 90 x 50 pesetas 1928 'El Banco de España' & Austro-Hungary 70 x 1000 Kronen 1902, mixed grades & 'The Royal Bank of Canada' 2 x cheques dated 1923 & 1927 issued by the Barcelona branch of the bank for 113 pesetas, creased & stained but intact & 850 pesetas, creases/tears & pieces missing
A Collection of 114 x Foreign Banknotes, housed in a high quality leather-bound album & comprising: Spain, 76 x notes dating from 1906 to 1992 & in all denominations from 1 peseta to 10,000 pesetas, including local issues (Girona, Barcelona etc) & Nationalist issues; the remaining 38 notes are from a range of countries including Cuba (x13), Bulgaria (x7) & Ethiopia (x2); mixed grades, viewing recommended
Spain, Principality of Catalonia, Barcelona 5 Pesetas 1811, obv. 'EN BARCELONA' & wreath around value '5 PESETAS,' sprig of leaves below, rev. wreath of oak leaves around diamond-shaped coat of arms, 26.9g, .921 silver (tested & verified), a few faint contact marks/hairlines o/wise good edge & surfaces, AVF, VERY RARE
UK, 5 x Crowns comprising: Victoria 1889 numerous contact marks o/wise AFine & 1893 LVI contact marks o/wise AFine, George V 1935 good edge & surfaces GEF, 1951 hairlines & light contact marks o/wise GEF, 1960 EF, together with 6 x foreign silver coins comprising: France silver proof 100 francs (15 euros) 1996 obv. 'Grand' Place de Bruxelles' 37mm, 22.2g, .900 silver, with certificate of authenticity, in case of issue FDC, Spain frosted silver proof 2000 pesetas 1990 'Barcelona Olympics' obv. conjoined portraits of King Juan Carlos & Crown Prince Filipe, rev. Olympic logo, 38mm, 25.7g, .925 silver, no certificate FDC, Turks & Caicos, 2 x silver proof 20 crowns 1997 commemorating the Queen's Golden Wedding, different obvs, both 24ct gold-plated, both with light verdigris stains around rims, each 39mm, 32g .999 silver, with certificate of authenticity, a Maria Theresa restrike silver thaler 1780X peripheral toning o/wise EF & a trade dollar 1898B Bombay Mint, 26.9g, .900 silver, contact marks, light scratches o/wise VF; all individually encapsulated except Maria Theresa thaler
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Mixed media on paper.Attached certificate issued by Don Gerardo Pérez Calero.It has slight damage to the frame.Signed in the lower right corner.Measurements: 31 x 60 cm; 50 x 80 cm (frame).Gonzalo Bilbao begins in the drawing since he was a child and in 1880 he begins his pictorial career. During these years he made a trip to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda 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 participated in numerous exhibitions of fine arts, 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 participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
VICENTE CASTELL DOMENECH (Castellón de la Plana, 1871- 1934)."Smoker.Oil on canvas.Signed in the lower right corner.Measurements: 65 x 45 cm; 77 x 58 cm (frame).Painter specialized in the costumbrista portrait, Vicente Castell was one of the most nationally known artists from Castellón. Trained with Eduardo Laforet, at the Academy he met painters such as Ramiro de Leza, Francisco Pérez Olmos, who frescoed the Teatro Principal in Castellón, Juan Bautista Carbó Rovira and Bernardo Mundina Milallave. He furthered his studies at the Royal Academy of Fine Arts of San Carlos, in Valencia. In Valencia he discovered the luminism of Sorolla and the poetic painting of Pinazo. Again on scholarship he studied at the Royal Academy of Fine Arts of Sant Jordi in Barcelona in 1898, and in 1899 he enrolled at the Royal Academy of Fine Arts of San Fernando in Madrid. There he got to know the Prado Museum and the great masters. He traveled to Rome and Paris. Meanwhile he cultivated his facet as a portraitist of personalities.
IGNACIO ZULOAGA Y ZABALETA (Eibar, Guipuzcoa, 1870 - Madrid, 1945)."Female portrait.Charcoal on paper.Signed and dedicated to Teresina Boronat, dancer from Barcelona, in the lower left corner.Measurements: 50 x 44 cm; 83 x 77 cm (frame).Teresina Boronat was a successful Spanish dancer who settled in Paris. In 1927, she set up her studio in the district of Montmartre, a very busy environment for the Spanish artistic avant-garde exiled in Paris during the dictatorship of Primo de Rivera. Names like Ignacio Zuloaga, who staged some of the dances of his company, Pablo Gargallo or Pere Pruna resonated in an environment full of changes and artistic novelties.Son of the notable damascene artist Plácido Zuloaga, and nephew of Daniel Zuloaga, one of the most outstanding Spanish ceramists of his time, Ignacio Zuloaga worked as a child in his father's workshop, where he had his first contact with drawing and engraving. He later began studying engineering, but abandoned his studies to devote himself to painting. He acquired his artistic training at the Prado Museum, copying Ribera, Goya, Velázquez and El Greco, of whom he would be one of the first propagators. In 1887 he presented a painting at the National Exhibition in Madrid, entitled "A priest praying in an old room". After a first trip to Rome in 1889, where he imbibed the Renaissance masters, Zuloaga went to Paris, where he met French artists such as M. Dethomas and Rodin, with whom he became great friends. He also met Miguel Utrillo and Santiago Rusiñol, and with the latter he traveled again to Italy. In Paris he came to practice pointillism and impressionism, and participated in some group exhibitions at the gallery Le Bar de Boutteville, frequented by the symbolists. However, the search for his own roots took him to Andalusia, where he spent some time between 1894 and 1897. In the latter year, in Segovia, he painted "My uncle and my cousins", a painting that he presented at the Paris Salon and which was acquired by the French State. In 1898 he married and settled in Madrid, although he made frequent trips to the French capital. The following year he presented his "Family Portrait" at the Paris Salon, which was also acquired by the French Government. From 1903 onwards he took part in international exhibitions and his fame grew. Between 1906 and 1913 he worked in Segovia, attracted by the austerity of the Castilian landscape and the quiet and humble dignity of its inhabitants, influenced by the ideology of the Generation of '98. In 1908 he was invited to present an exhibition in New York. At the outbreak of World War I he returned to the Basque Country and lived in a 12th century monastery in Zumaya (Guipúzcoa), later converted into a museum, where he installed his rich collection of works of art, including paintings by El Greco and Goya. Such was his admiration for the Aragonese master that he even bought his birthplace in Fuendetodos. Likewise, in 1926 he acquired the castle of Pedraza (Segovia), also converted into a museum. Ignacio Zuloaga is today considered, together with Gutiérrez Solana, the continuator of the tradition of Spanish painting throughout the 20th century. He is currently represented in prominent museums such as the Prado (works attached to the Museo Nacional Centro de Arte Reina Sofía), as well as in others around the world such as the Orsay, the Rodin and the National de Versailles in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Thyssen-Bornemisza in Madrid, among others.
MARIANO FORTUNY MARSAL (Reus, Tarragona, 1838 - Rome, 1874)."Henry IV of Valois", 1860.Oil on paper mounted on cardboard.With label of the Artur Ramon Gallery, Barcelona.Measurements: 21 x 8,5 cm; 40 x 26 cm (frame).Fortuny initiated his formation in the municipal School of Art of Reus, and in 1850 he moves to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn, and entered the School of Fine Arts, where he had as teachers Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attends Lorenzale's private school, which will determine his inclination for romantic painting in this first stage. In 1858 he settles in Rome thanks to a scholarship, and attends the Chigi Academy. While he was there, the Diputación de Barcelona proposed him to travel to Morocco to paint the warlike encounters that were taking place in the area, which will give a total turn to his career. The light of Morocco and the exoticism of the place and its people led him to become interested in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly after, he began a trip to Europe and finally returned to Rome for good. He attends classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visits Florence and comes into contact with the "macchiaioli". He returns to Morocco in 1862, and devotes himself to painting genre subjects in which he captures the movement through color and light. Back in Rome, he continued to focus on orientalist themes. Shortly after he travels to Paris and meets Adolphe Goupil, who will be his dealer from 1866. That same year he visits Madrid again and visits Toledo, where he discovers El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition in the Parisian gallery of Goupil. In these years he settled in Granada, in the Fonda de los Siete Suelos de la Alambra, with the idea of tackling new themes with the greater freedom that commercial and critical success gave him. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.
Spanish school; late eighteenth century."Our Lady of Mercy as patron saint of Barcelona".Oil on canvas. Relined.Presents Spanish frame, ca. 1850.Measurements: 52 x 40 cm; 84 x 54 cm (frame).Oval format work in which a religious theme is presented from a theatrical perspective. For this requirement the author has arranged some red curtains on the sides that allow to see the scene as if it were a representation on a stage. In the center of the scene can be seen the Marian figure of the Virgin of Mercy, defined by a series of attributes such as the scapular. The Virgin of Mercy is the patron saint of captives, not only physical captives, but also spiritual captives, and of all those who have been marginalized by society. Her devotion has its origin in Catalonia. The Order of Mercy was founded around her, initiated by Saint Peter Nolasco at the beginning of the 13th century. It was precisely the Mercedarian monks who spread her cult throughout Spain, France and Italy from that date onwards. The iconography for the representations of the Virgin of Mercy acquires its definitive form in the 16th century, which in the Baroque period drifts towards more dynamic representations, with breaks of glory.
AN EXCEPTIONALLY RARE IMPERIAL INSCRIBED TWO-COLOUR CINNABAR LACQUER CARVED BRUSHPOT, BITONGQianlong seal mark and of the periodExpertly carved around the exterior in relief with an Imperial poem in kaishu script titled Xiao yuan xian yong wu shou ('Five verses from the small leisure orchard') in red, on a black square diaper-pattern ground, the rounded rim carved with a zigzag floral design, all supported on a stepped base decorated with black floral honeycomb diaper-ground, raised on five ruyi-shaped carved red lacquer framed feet, the interior and base black lacquered. 12.2cm (4 3/4in) high.Footnotes:清乾隆 御製剔紅「小園閒詠五首」御題詩筆筒「乾隆御製」款 「乾」「隆」印Provenance:Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 29 April 1961, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry夫人（1923-2013）舊藏，於1961年4月29日購自上者，並由後人保存迄今Finely carved lacquer brushpots with Imperial poems carved in elegant kaishu script, such as the present example, are very rare, but two examples from the Qing Court Collection, in the Palace Museum, Beijing have been published. The first brushpot, nearly identical to the present lot, is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pl.32. The second example is illustrated in 200 Objects You Should Know: Carved Lacquer Ware, Beijing, 2008, pl.162. A third example, a closely-related but slightly smaller carved two-colour lacquer brushpot with the same poem, Qianlong seal mark and period, is illustrated by S.Marsh, Brushpots: A Collector's View, Barcelona, 2020, p.80. Only one other very similar example appears to have been sold at auction. Compare with a carved cinnabar lacquer brushpot, with the same poem, Qianlong seal mark and of the period, but with a red colour foot and no key-fret border, which was sold at Sotheby's Hong Kong, 10 April 2006, lot 1526.All the brushpots mentioned above have subtle variations in their design. It has been suggested that these differences are due to having been produced over a period of time; see S.Marsh, ibid.,, p.80. However, only the present lot has the exquisite carving on the mouth rim of a zigzag diaper-pattern, while sharing with one of the two Beijing Palace Museum brushpots the same colour and shaped foot.The poem adorning the present brushpot, entitled 'Five verses from the small leisure orchard' Xiao Yuan Yong Wu shou, was composed by the Qianlong Emperor himself and is recorded in the Anthology of Qianlong Poems Qing Gaozong Yushi Wen Quanji. Le Shan Tang Ding Ben, chapter 27, p.5, which may be translated as:'Five Verses from the small leisure orchard'1In the autumn lake the fish timidly near the bait, such are the affairs of rod and hook. Above the green waters a bamboo rod, a clear breeze rustles the collar of the palm-bark rain cape. The grassy reeds of the outskirt, among the moon and stars. Returning home along in the still night, along the mossy clear path. 2Taking the pine as my home, seeing home where the crane guards the gate. Knowing people and visiting guests, deserve fine grain from the paddies. The ancient spirit of the moon staying the night, the combing breeze through manifold feathers. Up to now, fine servant boys, need not be expensive and lofty. 3How much do you understand the colours of autumn? the reeds and flowers are all now white. The battling wind shakes the moorside at sunset, drinking the dew on the cold isle. Life and vitality knows to be thankful, and not willing to stop anytime. In the vast smoky water, it is best to go by a flat boat.4The pavilion across the river, connected by a bridge. Old autumn with jaded white sky, the red maples in the cold current. Rolling curtains of willow to the night moon, walking in the wind and frost. How I love this path, crossing the water east. 5Of the flowers and trees of the four seasons, my favourite in the garden is the plum blossom. Refusing to yield to the snow, in the breeze several flowers have blossomed. The pure fragrance wafts to the bones, cold and moist with icy cheeks. Alone, the secluded person can appreciate it, inspecting the branches. The poems were written by Prince Hongli, before he became the Qianlong Emperor, and were originally published in the Yuzhi Leshan Tang Quanji. The Leshan Tang was within the Palace where the Qianlong Emperor lived as a Prince, and these poems were published in the second year of his reign. It could be said that the Qianlong Emperor was nostalgic about his earlier time in this palace before he became Emperor, and so wanted brushpots carved with this particular poem. We enter the private realm of the Qianlong Emperor - firstly, through the poem, in his small garden rather than on an ostentatious grand tour, and secondly, through the brushpot, with him seated at his scholar's desk. Although brushpots with calligraphy can be found from earlier reigns, such as the Kangxi period, it was only during the Qianlong period that a brushpot is decorated with the Emperor's own poem. This can be taken as a sign of the Qianlong Emperor's confidence in poetry and classical Chinese literature and furtherance of his image as an accomplished scholar. Indeed, the Qianlong Emperor was a prolific poet and composed thousands of poems that, taken together, construct an image of the Emperor as a wise, erudite yet sensitive ruler. As a Manchu, he was still very much conscious of his perceived 'foreignness' by the Han Chinese elite. His sensitivity to the issue resulted in both a sorcery scare in 1768: a hunt for perceived sorcerers cutting off the Manchu prescribed queues, and literary inquisitions that sought to censor and destroy any text that he considered insulting to the Manchu. See P.A.Kuhn, The Chinese Sorcery Scare of 1768, New Haven, 2009. The Qianlong Emperor's concerns however, had a positive side too, propelling him to forge an identity, given that he was not entirely Han Chinese, to became the custodian, protector and benefactor of that culture. As such, the Qianlong Emperor aimed to show himself as worthy of any educated Han Chinese literatus: learned in the classics and the arts of painting and calligraphy. He therefore surrounded himself with the accoutrements of the scholar, such as brushpots, embellished with his own poems in fine calligraphy. In this series of poems carved on the present brushpot, the description of beautiful scenery and nature parallels the harmony and beauty of a world under his dynasty's rule. Brushpots with these poems, such as the present lot, would instill in the writer the erudition of the Emperor, and similar poems were inscribed on other brushpots in different mediums. See for example, the same poem on an underglaze red and white brushpot, Qianlong, illustrated in Sun Yingzhou de taoci shijie, Beijing, 2003, p.262, no.161.圓口直筒，筒身微斂，筒內髹黑漆，口沿飾紅邊，底部剔紅鐫出回紋一匝，下承四足錦地基座。器身外壁於深色回紋錦地上作剔紅雕刻乾隆... For further information on this lot please visit Bonhams.com
SHIP'S LOG FOR THE PADDLE SLOOP H.M.S. VESUVIUS, 1841-44 under the command of Commodore Erasmus Ommanney, folio, written in two hands, 1841-1844, the log concerns itself mainly with ordinary tasks (washing clothes, caulking, coaling, painting masts, washing decks, etc.) with a disproportionate amount of punishments (30 lashes for disobedience, 30 lashes for insolence, 36 lashes for being drunk on duty, 42 and 48 lashes for disobedience, 30 lashes for being below when the hands were on deck, 36 lashes for leaving the ship without leave, etc.) contemporary half roan (rubbed) -- 13 x 8in. (33 x 20.5cm.)Footnote: The Vesuvius was based in Malta and undertook voyages to Beirut (several visits), Jaffa, Acre, Crete, Barcelona (several visits), Tunis, Tripoli, Alexandria, Constantinople and other Mediterranean ports. Erasmus Ommanney (1814-1904) was one of four Ommanneys to serve in the Royal Navy in the 19th century. Entered the service in 1826, serving with the allied forces at the battle of Navarino in 1827 and after a varied career was promoted rear admiral in 1864, retiring from the Royal Navy as admiral. He was knighted in 1887.
Autographed PAUL SCHOLES 16 x 12 photo - Col, depicting the Manchester United midfielder scoring a stunning winning goal against Barcelona in the 2008 Champions League semi-final second leg at Old Trafford, victory secured United's place in the Final, signed in black marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Joan Miró (1893 Barcelona - 1983 Palma de Mallorca) (F)7-tlg., Konvolut Ausstellungsplakate auf Papier, 2 x Le Lezard aux Plumes d'or, Hommage á Fernand Mourlot, 1990, / Nuits de la fondation maeght / Lucifer, 1975 / Carpenter Center for Visual Arts, 1979 / Terres du grand feu, 1956 / Miró - L'oeuvre graphique, 1974, diverse Blattmaße (max. 78 cm x 57 cm)
Joan Miró (1893 Barcelona - 1983 Palma de Mallorca) (F)Blatt III aus der Serie 'Mallorca', Farbaquatintaradierung auf Velin, 1973, Plattenmaß 54 x 69 cm, 75,5 cm x 95 cm Passepartoutinnenmaß, 34/50 nummeriert, signiert, unten links Trockenstempel des Druckers J.-J. Torralba, Rubi (Barcelona), Blatt gebräunt und stockfleckig, WVZ: Dupin 613
Bernard Rancillac (born 1931)La Parole 4 l'Evangile selon Mao 1967 monogrammé; signé et daté 67 au revers acrylique sur toile (en huit parties)with the artist's monogram, signed and dated 67 on the reverseacrylic on canvas (in eight parts)Chaque: 100 x 80 cm.39 3/8 x 31 1/2 in.Dimensions totales: 200 x 320 cm.78 3/4 x 126 in.Footnotes:ProvenanceCollection particulière, France Puis par descendance au propriétaire actuelExpositionsParis, Musée d'Art moderne de la ville de Paris, Le monde en question, 1967Saint-Etienne, Musée d'Art et d'Industrie; Brest, Musée des Beaux-Arts, Rancillac, 1971Paris, Galerie du Centre culturel municipal, Rancillac, 1973Issoudun, Musée de l'Hospice Saint-Roch; Saint-Etienne, Musée d'art moderne et contemporain; Dole, Musée des Beaux-Arts, Bernard Rancillac Retrospective 1962-2002, 2003, p. 75, illustré en couleurLittératureSerge Fauchereau, Rancillac, Paris 1991, p. 99, n° 91, illustré en noir et blancChef de file d'une génération et l'un des membres fondateurs de la Figuration Narrative, Bernard Rancillac est une icône du Pop Art européen, dont l'héritage est inséparable de toute l'histoire culturelle du vingtième siècle. Nous présentons ici une œuvre qui saisit l'esprit du mondialisme après-guerre et révèle l'approche nuancée et critique que Rancillac a adoptée tout au long de sa carrière. La série de huit toiles intitulée La Parole 4 l'Évangile selon Mao (1967) représente une foule compacte de visages réjouis et de bras tendus en signe de salutation, rendue à traits vifs et en rouge selon la technique du pochoir, qui évoque la propagande et l'imagerie des régimes socialistes de la période, et la subversion des tropes du Pop Art qui est largement associée aux peintures d'Andy Warhol et de Roy Lichtenstein.Rancillac est un artiste dont les œuvres figurent dans les collections des plus grands musées mondiaux, y compris le MoMA, New York ; le Musée d'art contemporain de Barcelone (MACBA) ; et le Musée National d'Art Moderne, Paris ; l'importance de son travail a fait l'objet d'une reconnaissance constante depuis sa participation à l'exposition révolutionnaire The World Goes Pop à la Tate Modern en 2015, qui a ensuite été présentée au Walker Centre, Minneapolis. Rancillac a occupé une place centrale dans cette exposition qui ambitionnait de reconstituer et d'étendre l'histoire du Pop Art, traditionnellement considéré comme un phénomène purement anglo-américain. Il a affirmé, ce faisant, une présence avant-gardiste dans ces mutations profondes de la culture mondiale, et s'est imposé comme une figure majeure de l'art des années 1960.La Parole 4 l'Evangile selon Mao est une œuvre de qualité muséale, qui témoigne indéniablement de son époque : une image de la Chine de Mao un an après la Révolution culturelle de 1966, peinte un an avant que Rancillac ne participe personnellement aux événements de mai 1968, en prenant le contrôle des ateliers de lithographie de l'École des beaux-arts pour former l'Atelier Populaire. Chez Rancillac, les motifs artistiques et politiques sont alignés et occupent une large place dans son œuvre. L'ampleur et l'impact de cette grande œuvre impressionnante sont indéniables, et évoquent une énergie et une confiance intellectuelle dont l'observation est captivante. Peinte en utilisant un projecteur – selon un système qui a été mis au point pour la première fois par Illeana Sonnabend pour l'artiste français Daniel Pommereulle, puis introduit auprès des artistes du groupe Figuration narrative en 1964 – l'image photographique est transposée et reconstituée. Rancillac, en imitant les sérigraphies reproductibles de Warhol, mais en créant des œuvres délicatement peintes à la main et uniques, a réalisé une synthèse esthétique qui a constitué une critique des techniques autonomes du Pop Art tout en maintenant sa propre exigence politique.L'iconographie et les pochoirs des œuvres de protestation – dont les successeurs historiques incluent des artistes comme Christopher Wool et Banksy – recèlent une puissance artistique rarement vue dans la peinture traditionnelle. Rancillac est indubitablement l'un des artistes les plus importants et influents qui ont su capter l'énergie politique d'une décennie, et cette énergie est palpable et puissante dans La Parole 4 l'Evangile selon Mao. Sont également présentées à la vente des peintures de Rancillac de la série Cinémonde reconnaissables au premier regard – un épisode de sa carrière au cours duquel il a reproduit des photos publicitaires des starlettes hollywoodiennes les plus célèbres du vingtième siècle. Selon le co-curateur de l'exposition Mythologies Quotidiennes, véritable visionnaire, cette vente donne une occasion unique d'acquérir des œuvres importantes, emblématiques de l'apogée de l'illustre carrière de Rancillac.A leader of a generation and one of the founding members of the Figuration Narrative, Bernard Rancillac is an icon of European Pop Art, whose legacy is inseparable from the broader cultural history of the twentieth century. Presented here is a work that captures the spirit of post-war globalism and reveals the nuanced, critical approach that Rancillac pursued in his work. Executed over eight canvases, La Parole 4 l'Evangile selon Mao (1967) depicts a raucous crowd of cheering faces and arms in salutation, rendered in a typically sharp, red stencil that evokes the propaganda and imagery of the socialist regimes of the period, as well as a subversion of the tropes of Pop Art that is most widely associated with the paintings of Andy Warhol and Roy Lichtenstein. An artist whose work resides in global museum collections inlcuding the MoMA, New York; the Barcelona Museum of Contemporary Art (MACBA); and the Musée National d'Art Moderne, Paris, Rancillac's significance has seen ongoing appreciation since his inclusion in the ground-breaking exhibition The World Goes Pop at the Tate Modern in 2015, travelling to the Walker Centre, Minneapolis, subsequently. Taking centre stage in a show that sought to reconstitute and expand the history of Pop Art that has traditionally been seen as a British-American phenomena, Rancillac stands as a trailblazing presence who engaged deeply with global cultural shifts and emerged a prominent voice of the 1960s. La Parole 4 l'Evangile selon Mao is an institutional-quality piece that is unquestionably of its moment: an image of Mao's China one year after the Cultural Revolution of 1966, painted one year before Rancillac himself would participate in the events of May 1968, taking over the lithography studios of the École des beaux-arts to form the Atelier Populaire. In Rancillac, artistic and political motives are aligned and writ large. In this grand and impressive work, its scale and impact are undeniable, and evoke an energy and intellectual confidence that are captivating to observe. Painted using a projector – a device that was first procured for the French artist Daniel Pommereulle by Illeana Sonnabend, that then was introduced to the artists of the Figuration Narrative group in 1964 – the photographic image is transposed and reconstituted. Both mimicking the reproducible silkscreens of Warhol, but remaining fastidiously hand-painted and unique, R... For further information on this lot please visit Bonhams.com
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JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956).Untitled.Oil on canvas. Relined.Presents restoration.Signed in the lower left corner.Measurements: 46 x 56 cm.We are in front of a landscape where it is possible to appreciate the compositional audacity and the freedom of the stroke, based on material touches and a special capacity to capture an atmosphere with the minimum elements. The landscape and the characters that make up the scene, seem to merge into a plot of textures generous in matter, built in rich earthy shades, giving the whole a halo of mystery permeating the natural world.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly after, he settled in Paris, where he specialized in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he befriended Picasso and Hugué, and exhibited in the Salons. Between 1905 and 1906 he traveled through Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returns in 1907 to Paris, and makes several exhibitions in the French capital and in Liege. He went to Sitges in 1910, at a time when his style had been losing its post-impressionist influences and was approaching the Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organizes a personal exhibition in the Faianç Catalá that placed him, after Nonell's death, at the head of the Catalan painting of the moment. During the following years he travels and exhibits in Europe, but returns to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honor, and later special rooms were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime of work. An anthological exhibition was also held in Madrid in 1974, commemorating the centenary of his birth. As an easel painter he was the most representative of the "noucentisme". His landscapes and female nudes stood out especially, as well as his portraits, totally distant from traditional painting. Currently, Joaquín Sunyer is represented in the MACBA, the Fine Arts Museum of Bilbao, the Georges Pompidou Center in Paris and the Reina Sofía National Art Center in Madrid.
MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."La buitrera", 1999.Mixed media on board.Presents label of the Alfama Gallery (Madrid).Measurements: 27 x 27 cm; 40,5 x 40 cm (frame).From 1986 to 2007, Cuixart worked in what is known as a period of introspection in nature and mental landscape. During this period the artist was inspired by symbolism, turning to classical sources such as Aristotle or Pericles. Without abandoning his interest in matter, he introduced concepts such as the atom or fractals.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 participated in the foundation 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 beginning a strong kinship with surrealism, as well as a great sensitivity to the expressive power of color. Towards 1955 he immersed himself in material informalism, which led him to use the "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 art held at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduces collage in his work in 1962, which will gradually lead him towards pop-art. Enriched by all these experiences, he returns again to flat painting, reaching a very personal critical realism, which synthesizes expressionism with dramatically transformed figuration, always valuing the 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. In addition, he participates in a group exhibition at the UNESCO Palace in Paris, receives the Cross of St. George of the Generalitat of Catalonia, 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 colors and shapes, and reincorporates a more material figuration to his work. In 1998 the foundation that bears his name 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 Museo de Arte Contemporáneo in 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.
RAFAEL MARÍA MARTÍNEZ PADILLA (Málaga, 1878 - Barcelona, 1961)."Bay of Roses", Costa Brava.Oil on canvas.Signed in the lower right corner.Measurements: 100 x 120 cm.Contrary to what happens with other painters, Padilla reached his highest artistic level in the last years of his life, in which his painting evolved from the initial soft symbolist modernism towards a landscape painting of strong color, close to the best works of Joaquín Mir. In this painting we can appreciate the imprint of impressionism, whose intense and almost expressionist chromatism is echoed here in the balance of the different tonalities, applied as in the master's work with short and moving brushstrokes, reflecting the changes in the texture of the countryside, the stones and the furrows.Rafael Martínez Padilla lived in Barcelona from his childhood until 1937 when he moved to France. He returned to Barcelona in 1950. Later he studied at the School of Fine Arts of Sant Jordi, and from 1904 he took part in most of the official competitions and exhibitions held in Barcelona. That year he participated in the Universal Exhibition of 1904 with "El dolor", a work that won a prize, and in 1906 he was distinguished at the National Fine Arts Exhibition in Madrid with an honorary mention for one of the works he presented, entitled "Sic transit". He also obtained a second medal in the International of Barcelona in 1907, for his painting "Marina". He also held individual exhibitions, especially the one held in 1905 at the Sala Parés, where he reiterated his presence later. Padilla was a friend of Luis Bagaria, and frequented Els Quatre Gats. During his stay in France he mainly cultivated the landscape, and held several exhibitions both in Paris and Honfleur. He achieved special success with the one held in 1949 at the Parisian gallery Berheim-Jeune. He also stood out as a portraitist, and painted with success still life subjects and elegant female figures. In 1950, on his return from Paris, he held his last exhibition in Barcelona. He is currently represented in the MACBA, in the Fundación del Banco Hispano Americano and in other important Spanish and foreign art galleries.
OTTO FRIEDRICH WEBER (Germany, 1890-1957)."Village". circa 1915Oil on canvas.Signed in the lower right corner.Measurements: 51 x 51 cm; 60 x 60 cm (frame).Otto Weber initially studied at the Werkkunstschule in Wuppertal, where Max Bernuth was his teacher. His first drawings were acquired by Baron August von der Heydt, father of Eduard von der Heydt, who also allowed the budding artist to attend the painting class at the Dresden Academy. In Munich, Weber became a pupil of Hermann Urban, where he learned the technique of wax color, which was still new at the time. A commissioned work took Weber, who accompanied the landscape painter Edmund Steppes on a trip through southern Germany, to Paris, where he was the only German artist to exhibit at the Salons d'Automne of 1911 and 1913. He lived with numerous Cubist artists at the artists' house La Ruche, in the Passage de Dantzig, and, like his compatriot Arno Breker, was a friend of the young Pablo Picasso. In 1914 Weber traveled to Spain. In Barcelona he joined the colony of artists around Robert Delaunay, who like him had escaped military service and who influenced Weber's work. Weber exhibited at the Josep Dalmau Gallery in 1915, and later in Madrid and Toledo. He made a living drawing caricatures for the Spanish press. In 1919, Weber returned with his family to Elberfeld, where Edmund Becher's Galerie Raumkunst offered him exhibition opportunities. In 1927 he returned to Paris, where the city of Wuppertal commissioned him to design a mural. The newspaper Le Soir called him "the greatest German painter of the time." During the Nazi era, Weber was forbidden to travel, which made it almost impossible for him to work, as he often spent several months of the year in Mediterranean countries for preliminary studies. His paintings, including Die Schreitende, were removed from museums, and his studies were destroyed in the phosphorus attack on Wuppertal in 1943, resulting in the loss of a considerable part of his life's work. Weber lived out the end of the war in Eindhoven. Otto Friedrich Weber was a member of the Rhenish Secession, the Bergische Kunstgenossenschaft and the Malkasten in Düsseldorf. The Von der Heydt Museum in Wuppertal dedicated a memorial exhibition to him in 1958.
SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Marina".Oil on canvas.Signed in the lower right corner.Measurements: 43 x 62 cm; 71 x 80 cm (frame).In this work, Segundo Matilla offers us an evocative coastal landscape, with a rotten wooden hut occupying the first line in front of the immense sea. Solitary sailboats are silhouetted against a horizon marbled with filtered light.Despite being born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the School of Fine Arts in Barcelona, under the direction of Antonio Caba. An outstanding representative of Spanish impressionism, he participated in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organized by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honorable mention in 1891) or the Art Exhibitions of 1918 and 1919. In 1897 he obtained an honorable mention at the National Exhibition of Fine Arts in Madrid for his painting "Washerwomen of Galicia". He also showed his work in Paris, taking part in exhibitions such as the French Artists' Salon of 1897. Among his individual exhibitions, those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute, stand out. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Of special success was his very large exhibition (one hundred and fifty works) held at the Sala Parés in 1914, received with unanimous praise by the critics of the time. The following year it was presented in Madrid at the Salón Vilches, where all the works exhibited were sold. He achieved great public and critical success thanks to his landscapes of the Ampurdán, Camprodón, Port de la Selva and Cadaqués. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and pictorial technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape painter and sailor, painting portraits of great quality, especially of people from the world of show business, and his flower paintings and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, among them his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.
ELISEO MEIFREN (Barcelona, 1857 - 1940)."View of the Port of Mallorca".Pastel and chalk on paper.Signed in the lower right corner.Measurements: 46 x 56 cm.; 72 x 92 cm. (frame).Painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to make romantic landscapes of academic invoice. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Flower vase".Oil on canvas. Relined.Presents craquelure and lifting of the pictorial layer.Attached certificate issued by Dr. Gerardo Pérez Calero.Needs restoration.Signed in the lower right corner.Measurements: 81 x 46 cm.Scene that has as protagonist a vase with flowers where the loose and sketchy brushstroke is combined with a masterful treatment of the light, very thought and studied, that models the volumes reinforcing the three-dimensional sensation. Everything in the composition is rational, balanced and symmetrical except for the flowers themselves, which are arranged randomly.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 with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda 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 participated in numerous exhibitions of fine arts, 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 participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
MODEST URGELL INGLADA (Barcelona, 1839 - 1919). "Landscape at sunset". Oil on canvas. Signed in the lower right corner. Size: 144 x 297 cm; 175,5 x 326 cm (frame). As can be appreciated in this canvas, Urgell's landscapes possess an atmosphere, a color and a theme radically opposed to the stereotype of Mediterranean landscape created by the French impressionist painters. His images, lyrical and of great evocative power, speak of melancholy and loneliness, and recreate a desolate and sad Catalonia. In his work there are frequent twilight lights that dissolve, self-absorbed figures, cemeteries, empty beaches, immortalized and retained on the canvas through his subjective vision of the world, fully romantic and, above all, personal and independent. Modest Urgell studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina. Later he spent some time in Paris, where he met Gustave Courbet and became a member of the realist movement. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as of the Artistic and Archaeological Museum of Girona. He sent his paintings to numerous exhibitions and contests, to those of Barcelona and to the National Fine Arts of Madrid, as well as to the Universal of Paris and to the International of Munich, Brussels, Berlin, Philadelphia and Chicago. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are captured in his album "Catalunya" (1905), consisting of more than one hundred drawings accompanied by texts written by himself. Modest Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvasIt has slight losses on the paint layer and craquelure.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower left corner.Measurements: 66,5 x 85 cm.Landscape composed by an architectural group located on a mound. According to Pérez Calero, it could be an old hermitage, or monastery that seems abandoned and of which stands out in a side what should be a sort of chapel with a semicircular arch, near the cemetery, from where a cypress tree can be seen. It is surrounded by a palisade closing the perimeter to which it is acceded by a rustic wooden door. Intramurals, a thing that could belong to the domestic complex, as well as some trees. The piece reflects solitude and silence, tinged by the absence of human presence.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he traveled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda 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 participated in numerous exhibitions of fine arts, 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 participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
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