Attributed to ARCADIO MÁS Y FONDEVILA (Barcelona, 1852-1934)"Woman with plates.Oil on canvas.Presents lack of paint and breakage in the upper left area.Measurements: 48 x 92 cm; 43 x 107 cm (frame).The author presents us with a voluptuous and suggestive image, conceived through the presence of a woman lying in a lush landscape. The lady is accompanied by several geese or swans, which she stares at, ignoring the viewer's gaze. Both the idea of the woman immersed in the landscape and the presence of the geese are elements typical of Arcadio Más's painting, as can be seen in several works that are part of the collection of the National Museum of Art of Catalonia.Painter and draftsman, founder of the luminist school of Sitges, Arcadio Mas i Fondevila was trained at the La Lonja School in Barcelona, where his teachers were Antonio Caba and Claudio Lorenzale. At the age of twenty he took part in his first collective exhibition, organized in the hall of the Artistic Association of Barcelona. In 1875 he won the first Fortuny scholarship from the City Council of Barcelona, which allowed him to further his studies by traveling to Italy as a boarder between 1876 and 1886. During these years, Arcadi Mas i Fondevila visited Venice, Rome, Naples and Capri, while participating in several group exhibitions at the Sala Parés in Barcelona. Ascribed to the Neapolitan naturalist school of Domenico Morelli, in 1885 he also participated in the exhibition of the Center of Watercolorists of Barcelona. On his return to Catalonia, his friend Joan Roig Soler encouraged him to visit Sitges, and from this meeting and acquaintance was born the luminist school of Sitges, a pictorial current that brought together other artists such as Joaquim de Miró, Antoni Almirall and Joan Batlle. In 1887 he participated in the National Exhibition of Fine Arts in Madrid, and won a medal for his work "Corpus Christi Procession in Sitges". He also participated in the Universal Exposition of Barcelona the following year, being awarded the first medal. In 1895 he travels again to Madrid, this time accompanied by Santiago Rusiñol and Zuloaga, and later he goes to Granada with Rusiñol, Miguel Utrillo and Macari Oller, with the intention of illustrating some articles of the first one for "La Vanguardia". Mas i Fondevila won two more medals at the Fine Arts Exhibitions in Barcelona in 1894 and 1896, and in 1899 he joined the Círculo Artístico de Sant Lluc. In 1900 he inaugurated the Rovira Salon in Barcelona with his first individual exhibition, a show that consecrated him as a master of pastel. An example of the relevance of this painter can be found in the fact that Picasso had copied one of his nudes from 1895. During this period, Mas i Fondevila also collaborated as a draftsman in "La Ilustració Catalana". Thanks to a donation from the American patron Charles Deering, in 1913 he painted the tympanum of the Santa Catalina portal of the church of San Bartolomé and Santa Tecla in Sitges. Today a copy can be admired "in situ", the original having been erased by the passage of time. In 1928 he was commissioned to paint one of the murals of the Sala de Sant Jordi in the Palace of the Generalitat in Barcelona, and in 1932 he exhibited again individually, this time in the Pinacoteca room. On the occasion of the fiftieth anniversary of his death, the Sitgetan Studies Group dedicated an anthological exhibition to him at the Maricel Museum (1985). In his painting, Mas i Fondevila combined Catalan localism with his Neapolitan memories. He also worked on portraits, with outstanding works such as those of Antonio Caba and Pitarra. He is represented in the National Art Museum of Catalonia, the Maricel, the Cau Ferrat and the Sitges Town Hall, as well as in other museums and private collections.
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"PEREJAUME"; BORRELL GUINART (Sant Pol de Mar, Barcelona, 1957)."The painting", 1998.Oil on canvas.Signed, dated and titled on the back.Presents label of the Joan Miró Foundation, Soledad Lorenzo Gallery (Madrid) and Joan Prats Gallery.Measurements; 16 x 24 cm; 20 x 27,5 cm (frame).In this work the artist plays with the different textures of oil, combining an abstract composition with figuration. Concentrating in one work the painter's universe, which is defined by the representation of a man, which is arranged in the lower right area. In fact, the most important areas of the work seem to start from the protagonist man, as if through his imagination, he created his own environment.Painter, experimental artist and poet, Perejaume was self-taught, although influenced by artists such as Joan Brossa, with whom he shares a work that straddles painting and poetry. In 2005 he was awarded the National Prize for Visual Arts, granted by the Generalitat de Catalunya. The following year he was awarded the National Prize of Plastic Arts, from the Ministry of Culture. His work can be seen in the ARTIUM in Vitoria, the Centro de Arte Reina Sofía, the MACBA in Barcelona, the Museo Patio Herreriano in Valladolid, the Museum of Contemporary Art in Sydney, the Coca-Cola and Telefónica Foundations and the Chase Manhattan Bank Collection, the Caja Madrid Contemporary Art Collection, the European Central Bank in Frankfurt and the Deutsche Bank Collection, among other public and private institutions around the world.
QUEEN - PICTURE/ SHAPED/ ETCHED 12"/ 7" PACK. A quality pack of 8 12"/ 7" by Queen, all are either picture/ shaped discs including some with etchings. Titles include I'm Going Slightly Mad (QUEENPD17), Breakthru (QUEENPD11), Innuendo (12QUEENPD16, includes an extra card with release info on), Headlong (12QUEENPD18), You Don't Fool Me (12RDJ6446, orange vinyl with A4 press release), The Show Must Go On (12QUEENSG 19), A Kind Of Magic (12QUEEN7), It's A Hard Life (12QUEENP3) & Freddie Mercury & Montserrat Gaballe - Barcelona (POSPP 887). Condition is generally VG+ to Ex+.
Collection of programmes, magazines and Manchester United ephemera to include, three rosettes for Wembley 1976, four British Commonwealth Games programmes 1970, UEFA Champions League Final programme FC Barcelona vs Manchester Utd 2011, United Review magazines, three British Grand Prix programmes, prints etc. (qty)
JORGE CASTILLO Pontevedra/Spanien 1933 - tätig in Barcelona, New York und Berlin: Nacktes Paar - Frauenkopf mit floralen Elementen. Radierung bzw. Farbaquatintaradierung 1968/72. Expl. 19/20 bzw. 12/50. Beide signiert und datiert. Auf strukturiertem Bütten bzw. chamoisfarbenem Vélin. 19,4 x 14,8 und 59 x 39 cm. Beide im Passepartoutausschnitt gering gebräunt. Bl. 1 am Oberrand unter Blende montiert. Bl. 2 vereinzelt stockfleckig und Ränder etwas wellig. [bg]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Dibujos de Picasso - Collection d'un Amateur Parisien. Ausstellungsplakat des Sala Gaspar, Barcelona 1961 bzw. des Pavillon de Vendôme, Aix-en-Provence 1958. Lithographie von Picasso und Farblithographie nach Picassos Tempera „Quatre Baigneuses“ (1920), 1961/58. Czwiklitzer (dtv) 44 und 145. Bloch 1292. Mourlot 337. - Mit dem Namenszug im Stein, Bl. 2 mit typographischer Druckeradresse von Mourlot und Text. Auf Vélin. 70 x 50 und 70,8 x 51,2 cm. Beiliegt: Picasso. 100 Affiches. Farb. Photolithographie nach einer Farbkreidezeichnung Picassos um 1966. (vgl. Czwiklitzer 204, Abdruck ohne Plakattext). Mit dem Namenszug und Datum „12.1.63“ in der Darstellung. Auf Vélin. 77,8 x 55,8 cm. Sämtlich mit meist nur winzigen Randläsuren. [ms]
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is practising her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The glazes of the glass, the collars and breastplates of fine lace, the pleating of the sleeves, the faces alight with conversation..., the precious detailing is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp retained its pre-eminent position as an artistic centre for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger and David Rijckaert.
ANTONI CLAVÉ I SANMARTÍ(Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. Mixed media and collage on cardboard. Signed in the lower right corner. Size: 34,5 x 24,5 cm; 62 x 52 cm (frame). Antoni Clavé was a multifaceted artist who synthesised figuration with abstraction, the effects of trompe-l'oeil with the strength of matter, the incorporation of the object with the gestural stroke and the sources of tradition with the concerns of the avant-garde. He went into exile in Paris and became friends with Pablo Picasso, which led him to immerse himself in the world of collage and assemblage and to become a researcher of all kinds of textures and materials, which he used to create his works, as in the case of the one we are auctioning here. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
MATÍAS PALAU FERRER (Montblanch, 1921-2000). "Woman with flowers". Oil on canvas. Signed in the upper left corner. Size: 98 x 78,5 cm; 106 x 87 cm (frame). In this work Maties Palau Ferré offers us a beautiful scene of colour and light, based on a rigorous composition starring a young woman who offers the spectator a vase with flowers, and a clearly modern concept of space, of cubist heritage. In this way, Palau Ferré overcomes classical forms to show us another way of seeing reality, freed from the chains of learning, the fruit of experimentation and reflection. He studied at the Royal Catalan Academy of Fine Arts of Saint George, Barcelona, and moved to Paris in 1957, where he was one of Pablo Picasso's disciples. He began with some cubist-inspired works on oil canvases. Over the years he also did some ceramics and a few sculptures. After coming to fame in Spain he exhibited in several foreign countries, including France, the UK and the USA. His most important works are Woman and Moon, Montblanch and Guer-Blanc. Palau Ferré became notorious for his sudden mood swings, which led him to burn his oil paintings in 1974 after a dispute with a gallery owner. As a protest against what he defined as the "prostitution of art", he continued to systematically burn all his oil paintings that came into his possession over a period of about twenty years. He usually scattered the ashes of his paintings ceremonially in the Francolí River in his homeland, but some of the ashes of his canvases were saved and became part of an art exhibition in Pennsylvania, USA.1 His prolonged protest led him to stop painting oil canvases and to prohibit the few that survived from being exhibited until 1989. In his last artistic phase he painted only in India ink on thick paper using a technique of his own invention. He always signed his works with his two surnames "Palau Ferré". Palau Ferré died on 1 January 2000 in Montblanch and the town council named a street after him that same year. Months later, the Palau Ferré Art Museum was inaugurated, where some of his works are exhibited, including some rare canvases that were saved from burning.
JOAN BROSSA CUERVO (Barcelona, 1919 - 1998) and ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."The King of Magic", 1986.Etching and reprography on paper.With three etchings by Antoni Tapies.Ediciones Tristany, Figurres.Copy for collaborators hand signed by the authors. Numbered copy VII/X.Measurements: 46,5 x 68,5 cm; 46,5 x 34,5 cm and 46,5 x 34,5 cm (etchings) / 58 x 224 cm and 53 x 224 cm (frames).This work is dedicated to the centenary Barcelona establishment "El Rey de la Magia", located at Carrer de la Princesa, 11.The edition contains two visual poems by Joan Brossa and three etchings by Antoni Tapies, on paper handmade by Toni Sarda in his mill in Banyoles (Girona). Edition of 75 copies numbered from 1 to 75 and 10 units for collaborators numbered from I to X. Of which this is the VII / X copy. The poems and etchings are framed. It is accompanied by the original box, containing some pages of the book.
ANTONI TÀPIES (Barcelona, 1923- 2012) and JOAN BROSSA CUERVO (Barcelona, 1919 - 1998)."El pa a la barca".Contains 22 lithographs on Vélin Guarro paper, copy 89/100.Hand signed and justified by both artists.Measurements: 40,5 x 29 x 3 cm."El pa a la barca" is a book illustrated by Antoni Tapiès and text by Joan Brossa, 1963, which incorporated 22 original lithographs and collages-découpages by the artist on Vélin Guarro paper.Co-founder of "Dau al Set" in 1948, Tàpies began 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 in museums such as the Guggenheim in New York or the Modern Art Museum 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.
FRANCISCO FARRERAS RICART (Barcelona, 1927).Untitled, 1964.Mixed media on paper adhered to board.Presents inscription on the back.Signed, dated and located on the back.Measurements: 83,5 x 58,5 cm; 85,5 x 60 cm (frame).Francisco Farreras Ricart began young to develop his artistic vocation thanks, at least at the beginning, to Antonio Gómez Cano de Murcia and Mariano Cossío, when he began to study in the School of Arts and Trades of Santa Cruz de Tenerife. He continued his apprenticeship at the San Fernando School in Madrid, where he obtained the title of Professor of Drawing in 1949, and in Paris, Belgium and Holland thanks to his study trips. At the end of the 50's his style was geometric, using thick materials; later, when he discovered silk paper, he developed the possibilities of this material with a large number of collages, above all, and his work could be seen, since 1954 when he began his professional artistic career, in numerous cities both in Spain and abroad (Madrid, New York, Munich, Logroño, Gijón, Elche, Lisbon, Oporto, Alicante, Berlin, Buenos Aires, Granada, Lahr in Germany, Mallorca, Geneva, California, etc.). It is also preserved in numerous private collections around the world and in institutions such as the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Carnegie Institute of Pittsburgh in Pennsylvania, the Contemporary Art Center of Almada in Portugal, the Honolulu Academy of the Arts in Hawaii, the Chaux de Fonds Museum of Fine Arts in Switzerland, the National Museum of Modern Art in Paris, the Museum of Contemporary Art in Madrid, the Museum of Fine Arts in Bilbao, the Patio Herreriano Museum in Valladolid, the Museum of the 20th Century in Vienna, Austria, etc.
MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007). "Ratacat", 1962. Oil, collage and encaustic on canvas. Attached certificate issued by Notar S.A. in 1988. Work exhibited in the exhibition: Modest Cuixart; The Crucial Years 1955-1966. Juan March Foundation, Mallorca, 2020. Work reproduced in the catalogue of the Fundación Juan March Mallorca. With the label of the René Métras Gallery on the back. Provenance: Brok Gallery. Signed, dated and located on the back. Measurements: 82 x 69 cm. This work denotes the contemporaneity of which Cuixart was a part, despite belonging to a Spain dominated by Francoism. Both the aesthetic language and the use of the encaustic technique show us the artist's knowledge of the great currents of the time. He applied to his work the precepts of Informalism that were being developed in France and his mastery of the encaustic technique that was being popularised by the American artist Jasper Johns. As the Juan March Foundation rightly points out, "From 1958 onwards, (Cuixart) resorted to his characteristic dripping of metallic iridescence on dark backgrounds, which evolved into a kind of spatialism. At the beginning of the 1960s, the material and textural elements of Lyon's Informalism hybridised with the magicist and sign-like graphics of Dau al Set. His plastic preoccupation with the human condition meant that his interest in matter was progressively replaced by an intense irruption of the existential". 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 beginning 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, 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.
A MODEL OF THE ATLANTIC CONTAINER LINE RORO/CONTAINER SHIP 'ATLANTIC CONVEYOR' (THIRD GENERATION), model made by Modelos Navales Riera of Barcelona, appears complete and in very good condition but has very minor working and wear to paintwork, mounted on a wooden plinth with a perspex cover, approximate sizes: model length 42cm x plinth length 52cm x plinth height and cover 16.5cm
Jaume Plensa (B. 1955)SHADOWS I 2006 stainless steel and stone 242 by 192 by 196 cm. 95 1/4 by 75 9/16 by 77 3/16 in. This work was executed in 2006, and is unique.Footnotes:ProvenancePrivate Collection, US (acquired from the artist)Selling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2007 Acquired directly from the above by the present ownerTowering at nearly eight feet tall with arresting presence SHADOWS I, executed in 2006, is a stunning example of Spanish artist Jaume Plensa's text-based sculptures that transform the environments they inhabit.Born in Barcelona, Plensa is renowned for his large sculptures and public installations, which are widely exhibited across the globe with celebrated projects in cities such as Calgary, Chicago, San Diego, Montréal, London, Paris, Dubai, Bangkok, Shanghai, and Tokyo. Installations of his monumental sculptures can be seen in public spaces at the Rockefeller Centre and 30 Hudson Yards in New York City, the Museo Nacional de Arte in Mexico City and Plaza de Colón in Madrid. Over the past 35 years, the artist has produced a multifaceted body of work creating sculpture that speaks to the power and beauty of humanity, bringing people together and enriching communities through their presence. He works with conventional sculptural materials like glass, steel, and bronze but has also gone further to blend this with unconventional media such as water, light and sound to create hybrid works of intricate energy and symbolic richness. Composed of stainless-steel letters that are weaved together in a linguistic fluid form, this present work is an elegant personification of Plensa's sculptures that are so definitive of the artist's oeuvre. Here, a figure sits upon a stone plinth with its arms clasped around its legs in what appears to be a meditative and serene posture, suggesting a sense of tranquillity and peace. Despite its striking originality, we are encouraged to see parallels to the figures we identify in classical sculpture, in its concern with aesthetic beauty and earnest examination of the human soul in the most simplified form. This figure bears no expression, no facial features or the complexities of human existence. Rather than a straightforward portrait, Plensa plays with proportions thus giving instead a sense of spirituality to his faces, as he examines the relationship between body and soul. Plensa's sculptures are unique in their remarkable ability to transform the environments which they inhabit. This present lot invites a dialogue between the sculpture and the surrounding landscape which is readily visible through the interlaced letters that comprise the figure. The sculpture exists in harmony within its setting and transforms the space around it, most notably in the way in which the open and closed form of the letters alter light and shadow. This subject of transparency was of great allure to Plensa; he was intrigued with how he could bring light and its related openness to metal and found he could achieve this through this use of open weave, lattice like letters. Plensa's work explores not only the human form, but also the role of language in the human experience. An avid reader, Plensa was fascinated with language and classical literature; he has a particular interest in the workings of Shakespeare, William Blake and Johann Wolfgang von Goethe regarding their texts as some of his main sources of inspiration. For Plensa, a language and its calligraphy, or alphabet, provided a portrait of cultures, and through the process of incorporating letters together, but without specific meaning, sought to provide a positive metaphor of our world today. He avoids any negative connotation in his work, and instead expresses messages of hope, beauty and unity, he seeks to portray feelings of unanimity despite the conventional barriers that separate humankind. He believed poetry, which for him was a far greater influence than the visual arts, to be a universal language with the capacity to bring humanity together; and has expressed his utopian vision of a world without boundaries. As the artist himself noted, 'One letter alone is nothing, but together with other letters you get a word. A word with a word becomes a text, and so on. A person alone is nothing, but together with others we become family, a neighbourhood, a city, a county, a country.' (The artist in an interview with Ginny Van Alyea, 'An Interview with Artist Jaume Plensa', Chicago Gallery News Online, 8 November 2017).The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
EUROPEAN CUP SEMI-FINALS Twelve programmes: Cologne v Nottm. Forest 78/9 X 3, CSKA Sofia v Bayern Munich 1982, Dundee Utd. V Roma 1984, Liverpool v Dinamo Bucharest 1984 both legs, Liverpool v Panathinaikos 1985 both legs, Juventus v Bordeaux 1985, Gothenburg v Barcelona 1986, Steaua v Anderlecht 1986, Kiev v Porto 1987, Real Madrid v Bayern Munich 1987. Very good
1999 CHAMPIONS LEAGUE FINAL Items relating to Manchester United v Bayern Munich in Barcelona including 2 programmes, teamsheet and 3 X Full Time reports, Marca and El Mundo Deportivo Spanish newspapers the day after the match and 6 X Manchester Evening News newspapers 27 & 28/5/1999 plus 2 X UEFA Club Competitions handbooks. Very good
1961/62 FAIRS CUP Espanyol v Birmingham City played 15/11/1961 at Estadio Sarria, Barcelona. The weekly Barcelona football revista ''DICEN'' dated 17/11/1961 which includes extensive coverage of the game including reports, pictures and full team line-ups with headline front cover coverage. This was the first issue released after the game. Generally good
Linford Christie signed 22x16 Team GB Olympic Gold Big Blue Tube print. Linford Christie Olympic Games Barcelona 1992. Linford Christie wins the 100m Gold medal in 9. 96 seconds. Limited edition 500 copies. 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
Chris Messina actor signed colour photo 10 x 8 inch. Christopher Messina is an American actor. He had a lead role in the M. Night Shyamalan written horror film Devil. He has appeared in supporting roles in films such as Vicky Cristina Barcelona, Argo, Julie and Julia, Ruby Sparks, Celeste and Jesse Forever, Youve Got Mail, Birds of Prey, and I Care a Lot. 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
![Calicó, X., The Roman Aurei, 2 vols, Barcelona, 2003, xiii + 876pp, illustrations in text, djs [2]. Publisher’s blue cloth, g](https://cdn.globalauctionplatform.com/a20f9e13-6149-42ba-8ba9-ada50182d8fd/47141ded-d425-408e-8bd9-adb0011f0d04/468x382.jpg)
Spain, Philip IV, 8 Maravedis, 1662, Trujillo (Cayón 5432; KM. 164.2); Philip V, 4 Maravedis, 1743, Segovia (Cayón 8105; KM. 365); Charles III, 2 Réales, 1775cf, Seville (Cayón 11563; KM. 412.2), 4 Maravedis (2), 1774, 1779, Segovia (Cayón 10988, 10993; KM. 407.2); Charles IV, 4 Maravedis, 1801, Segovia (Cayón 13076; KM. 427); Ferdinand VII, 8 Maravedis (4), 1820 (3), 1827, Jubia, 8 Maravedis, 1830, Segovia, 2 Maravedis, 1830, Segovia (Cayón 14784, 14931-2, 14959, 14965; KM. 486.1, 487.1, 491, 502.1); Isabel II, 8 Maravedis (4), 1843, 1845, 1847, 1850, Jubia, 4 Réales, 1862, Madrid, Réal, 1860, Barcelona, Half-Réal, 1851, Segovia (Cayón 16725, 16729, 16733, 16739, 16768, 16842, 17055; KM. 531.2, 591.3, 606.1, 608.2); 25 Centimos, 1861, Segovia, 10 Centimos (2), 1859, 1861, Segovia, Two-and-a-Half Centimos (2), 1867om, 1868om, Jubia, Two-and-a-Half Centimos (2), 1867om, 1868om, Segovia, Half-Centimo, 1867om, Jubia (Cayón 16547, 16597, 16601, 16681, 16694, 16696, 16699, 16700; KM. 603, 615.2, 632.2, 634.2, 634.4) [27]. Varied state £70-£90
Spain, Charles III (Pretender), 2 Réales, 1711, Barcelona (Cayón 7983; KM. PT5); Charles III, 4 Réales, 1774cf, Seville (Cayón 11771; KM. 413.2); Charles IV, 2 Réales, 1808cn, Seville (Cayón 13688; KM. 430.2); Isabel II, 5 Centimos and Two-and-a-Half Centimos, both 1868om, Jubia (Cayón 16699, 16784; KM. 634.2, 635.2) [5]. About very fine or better, second scratched on obverse £80-£100
Property of a deceased's estate c.1975 Montesa 306cc Cota 348 TrialsRegistration no. not registeredFrame no. 51 M0201Engine no. to be advisedFounded in the mid-1940s in Barcelona, Montesa entered road racing in the early 1950s but its major impact on motorcycle sport would be away from the tarmac, the Scorpion and Capra moto-crossers and Cota trials being the equal of any of their contemporaries. Developed by the factory test rider Pedro Pi, Montesa's first trials machine arrived in 1967 and the following year Pi won the Spanish Trials Championship on one, now re-titled 'Cota'. In 1974 the original 250cc Cota was succeeded by the Rathmell-developed Cota 348 (actually 306cc capacity) which featured a six-speed gearbox and weighed in at around 195lb. An affordable entry into Twin-Shock trials competitions, this Cota 348 was purchased somewhere between 2010 and 2015 and last ran prior to 2016. Its mechanical condition is not known and thus the machine is sold strictly as viewed. There are no documents with this Lot.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Property of a deceased's estate c.1983 Montesa-Honda MH200 TrialsRegistration no. not registeredFrame no. to be advisedEngine no. to be advisedFounded in the mid-1940s in Barcelona, Montesa entered road racing in the early 1950s but its major impact on motorcycle sport would be away from the tarmac, the Scorpion and Capra moto-crossers and Cota trials iron being the equal of any of their contemporaries. Despite their many competition successes, by 1981 Montesa was in a sorry state financially and needed a major injection of capital to survive. With the Spanish government's approval, Honda came to Montesa's rescue, gaining a strategic European manufacturing base in the process, and now own the firm outright. An affordable entry into Twin-Shock trials competitions, this Montesa-Honda was purchased somewhere between 2010 and 2015 and last ran prior to 2016. Its mechanical condition is not known and thus the machine is sold strictly as viewed. There are no documents with this Lot.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
POUL KJAERHOLM FOR E. KOLD CHRISTENSEN: A PAIR OF LOW CHAIRS MODEL PK22 with red leather upholstered back and seat on chrome legs, stamped to the underside with the E Kold Christensen mark, 72cm high x 63cm wide x 75cm deepProvenance: Private Collection, DorsetAlthough there is little to no historical information available regarding the manufacturer E. Kold Christensen or the man himself, the company itself was instrumental in furthering Danish industrial designer Poul Kjærholm’s career. The pair formed a partnership and friendship that lasted over two decades, producing some of Kjærholm’s most well known work.The first successful piece produced by the partnership was a minimalist chair that is reminiscent of Mies van der Rohe’s famous Barcelona Chair (1929). The PK22 (1956), which was designed from a single sheet of steel, was an instant commercial success launching both the designer's and manufacturer's careers. In 1957, the chair won the Grand Prix at Milan’s Triennale. Famous designs from this fruitful partnership include Kjærholm’s PK61 coffee table (1955), PK80 daybed (1957), PK33 stool (1959), PK9 Tulip Chair (1961), and the wicker and steel PK24 chaise longue (1965).Kjærholm and Kold Christensen worked closely together until the untimely death of the former in 1980. The pieces produced from this period are highly sought-after and sell for soaring prices. In 1982, Fritz Hansen took over the production and sales of The Kjærholm Collection, which includes designs developed from 1951 to 1967. In 2007, Fritz Hansen added to the collection, with the PK8 side chair and PK58 dining tables, neither of which had previously been in production.
CASQUE ÉTRUSQUE, BRONZE, CIRCA IV-IIIE S. AV. J.-C. AN ETRUSCAN MONTEFORTINO TYPE BRONZE HELMET, CIRCA 4TH-3RD CENTURY B.C., the domed helmet with riveted pointed attachment and flanged neck guard, with triple bossed decoration above the hinged cheek pieces, cheekpieces largely restored, 32cm high, 15cm wide, 25cm deepFootnotes:Provenance:Private collection, North America. Private collection, England. In the collection of the Catalan Private Foundation for Iberian Archeology.with J. Bagot, Barcelona.Acquired from the above in 2011.There is an example of a Montefortino helmet in the Metropolitan Museum of Art with triple boss decorated cheek-pieces, acc. no. L.2018.51. It is unusual for Montefortino helmets to survive with their cheek-pieces as they were often made of leather, an easily perishable material. This type of helmet is named after the region of Montefortino in Italy where an example was excavated in a Celtic burial. These helmets were popular amongst the Italic peoples who derived the design from Celtic helmets made of iron.For further information on this lot please visit Bonhams.com
Audet y Puig (Andre?s). Carpinteria Artistica, recopilacio?n de los mejores modelos de carpinteri?a cla?sica y moderna de autores nacionales y extranjeros, Barcelona: Miguel Segui, circa 1900, chromolithograph title and 199 of 200 plates (lacking plate 182), sewing weak and contents loosening, some light marginal fraying, without free endpapers, original cloth, later reback, joints split, worn, lacking some ties, folioQty: (1)
PERE LEMBRI(tätig in Morella und Tortosa um 1399–1421)Apostel Matthäus. Um 1410.Öl auf Holz.Auf Schriftrolle bezeichnet: Sanctam ecclesiam catolicam santorum comunionem.111,7 × 48 cm.Provenienz: - Dr. E. Tüscher, Nr. 43 (verso mit Etikett).- Privatsammlung Salzburg.- Europäischer Privatbesitz.Mit einer ausführlichen kunsthistorischen Analyse von Prof. Dr. Gaudenz Freuler, August 2021.Vorliegende auf Goldgrund gemalte Tafel zeigt einen in einen roten Mantel gekleideten heiligen Apostel mittleren Alters. Er erscheint auf einer Blumenwiese, die im Hintergrund von einem dunkeln Wald hinterfangen wird. In seiner Hand hält er als Zeichen seines Martyriums ein Messer, während er mit seiner rechten Hand eine Schriftrolle hält, die das neunte Glaubensbekenntnis ([Credo in] sanctam ecclesiam catolicam santorum comunionem) enthält. Ohne Kenntnis des zyklischen Zusammenhangs dieser bislang unveröffentlicht gebliebenen Tafel müsste uns die Identität des Apostels verschlossen bleiben. Es handelt sich um den Apostel Matthäus, der zuweilen, wie hier, nicht mit seinem Evangelisten Symbol, dem Engel, sondern mit einem Dolch oder Messer dargestellt wird. Dies begründet sich damit, dass Matthäus mitunter mit Legenden in Zusammenhang gebracht wurde, laut denen er – im Gegensatz zu jenen, die ihm einen natürlichen Tod zuschreiben – erdolcht worden sei. Die grosse, nach den eleganten ästhetischen Prinzipien der internationalen Gotik gemalte, sich durch beschwingt fliessende Draperien und ein markantes, etwas kantiges, leicht mürrischen Antlitz auszeichnende Apostelfigur des Matthäus kann schlüssig der Hand des spanischen Malers Pere Lembrí zugewiesen werden. Ursprünglich wurde sein Œuvre unter dem Notnamen des Meisters von Albocàsser geführt, dem Chandler Rathfon Post eine Werkgruppe zugewiesen hatte (siehe Chandler Rathfon Post: A History of Spanish Painting, Bd. III: The Italo-Gothic and International Style, Cambridge, Mass. 1930, S. 112 ff.). A. José i Pitarch gelang es 1987 und 2004 überzeugend den Künstler Pere Lembri zu identifizieren (zitiert in: Josep Guidiol und Santiago Alcolea i Blanch: Pintura Gotica Catlana, Barcelona 1987, S. 109–111 und Ausst.-Kat. Una memoria concreta, Pere Lembrí: Pintor de Morella y Tortosa (1399–1421), hrsg. von Antoni José I Pitarch, Morella 2004, S. 20 ff.) Über Lembrís frühe Karriere ist wenig bekannt, obwohl traditionell angenommen wird, dass er in der Werkstatt von Lluís Borrassà (um 1360–um 1426), einem führenden katalanischen Maler des späten 14. und frühen 15. Jahrhunderts, ausgebildet wurde. Ab 1399 ist Lembrí durchwegs in der Region Maestrazgo dokumentiert, hauptsächlich in den Städten Morella und Tortosa, wo er als höchst produktiver und hoch bezahlter Maler großformatiger Retabel in Erscheinung trat (siehe Nicholas Herman, in: Late Medieval Panel Paintings, hrsg. von Susie Nash, Bd. II, London 2015, S. 15–16). Allerdings ist keiner seiner zahlreichen durch Archivdokumente überlieferten Grossaufträge sicher identifizierbar. Der jüngsten Ausstellung zu unserem Maler (siehe Pitarch, 2004) gelang es, einen Grossteil seines Œuvres auf aufgebrochene Altarwerke gigantischer Dimensionen zu verteilen. Zu einem dieser riesigen hypothetisch, gleich wie arbiträr rekonstruierten Altarwerke (siehe Pitarch, 2004, S.187 ff.), nämlich zum grossen Altar des Credos, gehörte zweifellos auch das hier in Rede stehende Tafelbild mit dem Apostel Matthäus, dessen Schriftrolle sich auf das 9. Glaubensbekenntnis bezieht. Er fügt sich zyklisch, stilistisch, und was das Rahmenwerk und seine Dimensionen betrifft, nahtlos ein in die übrigen bisher bekannten Apostel Darstellungen, welche mit ihren Schriftrollen ebenfalls auf die Artikel des Credos hinweisen. Diese vermutlich über die zwei untersten Geschosse des höchstwahrscheinlich fünfgeschossigen Altarwerks verteilten Apostel dürften jeweils nach den ihnen zugeordneten Artikel des Credos angeordnet gewesen sein, genauso wie die in der oberen Hälfte figurierenden Bilder der zwölf Glaubensbekenntnisse. Der Altar setzte offenbar ausführlich Raimondo Martìs textliche Vorlage seiner im katalanischen Gebiet verfassten und dort besonders beliebten Schrift des Apostel-Credos, der Explanatio simboli apostolorum ad institutionem fidelium (1256–57) ins Bild (siehe Joseph M. March: “En Ramón Martí et la seva Explanatio simboli apostolorum”, in: Anuari de l’Institut d’Estudis Catalans 1908, S. 442–496). Mit der Wiederentdeckung unseres Apostels steht die Identifikation von nunmehr fünf weiteren Tafeln mit den restlichen Aposteln aus. Nach Martìs Text müsste unser Apostel in der Apostelreihe an 9. Stelle figuriert haben. Dort verbindet Marti diesen mit Matthäus, sodass die Identität unserer Apostelfigur als Matthäus schlüssig gesichert ist. Dabei kann zyklisch wohl von 12 Aposteldarstellungen aber nicht von ebenso vielen Szenen für die zwölf Glaubensbekenntnisse ausgegangen werden. Diese Erkenntnisse müssten dereinst bei einem neuerlichen Versuch, dieses gigantische Altarwerk zu rekonstruieren, in die Überlegungen einfliessen. Die neu entdeckte, hier erstmals präsentierte Tafel mit dem Apostel Matthäus ist ein weiterer Schritt hin zu der Rekonstruktion eines der bedeutendsten Altarwerke Pere Lembrís und eines der Meisterwerke der spanischen Malerei der internationalen Gotik.
Football Leslie Mark Hughes, OBE born 1 November 1963) is a Welsh former football manager and player. 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. He made 72 appearances for Wales scoring 16 goals. He won a host of winners' medals during his playing career, including two Premier League titles, four FA Cups, three League Cups and two European Cup Winners' Cups. He also collected an FA Cup runners up medal and a League Cup runners up medal. Hughes was the first player to win the PFA Players' Player of the Year award twice, in 1989 and 1991. He retired from playing in 2002. Good Condition. All autographs are genuine hand signed and 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.
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