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Lot 301
* A selection of Chinese and Eastern objects of virtue, to include a pale jade nail guard, with carved and reticulated detail, 6cm long, an enamelled white metal nail guard, 9cm long, two further white metal coloured nail guards, 8cm long, a 19th century carved ivory model of a seated buddha, 4cm high, a nephrite jade coloured pilgrims flask, 8.2cm high, a Chinese Hediao nut carving, 4cm high, a polished lapis lazuli fragment, a bronze opium weight etc (16) CONDITION REPORT:All pieces show wear commensurate with age. The pilgrim flask is lacking its stopper. The metal nail guards show the odd small dent and mis-shaping of the openings. Trevanion Auctioneers & Valuers do not ship items containing ivory outside the UK. Trevanion recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. A buyer's inability to import these lots cannot justify a delay in payment or sale cancellation.The government have proposed legislation to create a UK law to ban the sale of all ivory. Please note this means that this lot is legal to sell now but may not be in the future.
Lot 387
After Guillaume Coustou, a pair of patinated bronze Marly horses, naturalistically modelled rearing with grooms to the side, signature to bases, set octagonal marble plinths, later converted into table lamps, 28.5cm high (at fault) (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items. CONDITION REPORT:The horse and groom facing left show a break to the reins at the horse's mouth. The groom's torso is a separate casting, and this is loose where it inserts into the loin cloth. The horse and groom facing right are lacking their reins. Both groups show chips to the edges of the marble plinths and extensive glue residue where the brass rods supporting the light fittings have been inserted into the bases. Both are dirty and would benefit from cleaning.
Lot 389
A pair of bronze patinated spelter figures after Ernest Justin Ferrand, one titled 'Travail' the other 'Recompense', set to faux marble socle bases, later converted into table lamps, each 43cm high (at fault) (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 390
A heavy gauge bronze mortar, 18th century, the flared rim on tapering body with lower knop above spreading foot, 9cm high (at fault), with a ribbed bell form bronze mortar with flared foot, 9cm high, a bucket form bronze mortar with vacant brass plaque, 8cm high, and a 19th century twin handled brass example after Henryck Ter Horst, 11.5cm high, with two brass pestles, 16cm long and 16.5cm long (6)
Lot 66
A replica Flintlock Blunderbuss, the round bronze barrel stamped ‘A093’, half-stocked in walnut and fitted with a sprung bayonet, lacking maker’s name and proof marks, vacant cartouche to top of stock, with ramrod (possibly associated), the barrel 35cm long, 74cm long overall CONDITION REPORT:The Flintlock, trigger mechanism and sprung bayonet release all appear to be in working order. All the brass fittings show wear to the engraved details, fine surface scratching and polish residue. The walnut stock shows expected wear and patination.
Lot 40
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Maternitat", 1979. Edition 5/9.Bronze sculpture on marble base.Signed by the artist and with the seal of the founder Manuel Parellada.Measurements: 16 x 8 x 5 cm (figure); 12 x 10 x 8 cm (base).This sculpture from the end of the 70's takes up again one of the favourite themes of the author in this period, the female figure, whose physiognomy generally responds to a somewhat mannerist canon. In it we can observe a great formal scrupulousness, mastery of technique, contrasts of styles and juxtapositions of materials, models that define Subirachs' personality, to the point that the play of figurative-abstract dualism, myth-reality, form-symbol, innovation-repetition, positive-negative, painting-sculpture - becomes the emblem that distinguishes the production of one of the most representative exponents of sculpture in the second half of the 20th century.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 he entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he made his debut at the Casa del Libro in Barcelona, and in 1951 he travelled to Paris to complete his training, with a scholarship from the Institut Français in Barcelona. He returned to his native city in 1953 and was awarded the Sculpture Prize at the Jazz Salon. After two years working and exhibiting in Belgium he returns to Spain, and in 1958 he is awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. He has had numerous solo and group exhibitions in Europe, Asia and the United States, and in 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
Lot 78
CARLOS MATA (Palma de Mallorca, 1949 - Barcelona, 2008)."Esagilo".Patinated bronze, example 151/275.Signed and numbered on the base.Measurements: 32.5 x 46 x 20 cm.In this sculpture, Mata works with the basic forms that were constant in his work, objects, people and animals reduced to their essence and silhouettes of pure lines. It is precisely this purity that makes the warmth of the texture of the bronze shine even more brightly, competing in prominence with the shape of the piece itself. Mata's production includes stylised and elegant figures of horses and bulls, inspired by his childhood and youth. Mata chooses materials such as iron or bronze for many reasons, among them the plasticity he demonstrates in adapting to the original hand-worked model, reflecting the warmth of manual work with its arid and irregular, rough surfaces, which invite one to touch, and also with its fluid, smooth, rounded-edged crevices.A sculptor, painter and engraver, Carlos Mata studied Fine Arts in Barcelona and Paris, cities between which he has shared his residence since his formative years. He held his first solo exhibition at the Canalls gallery in Sant Cugat del Vallés in 1976, and this first exhibition was followed by others in Barcelona, France and Germany. His most recent exhibitions include those held at the Kreisler gallery in Madrid, Casal Soleric in Palma and Can Marc in Girona. His sculptures in unpolished cast iron take advantage of their austere and rough qualities in figurative stylisations of a certain primitivism and archaeological evocation, generally taking animals, such as bulls or horses, as their subject. The same schematic intention can be seen in his painting, of a neo-figurative, planist type with a contained and reduced chromatic range.
Lot 36
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Bird that turns into gold".Oil on canvas.Signed in the lower right corner and titled on the back.Measurements: 64 x 80 cm; 78 x 94 cm (frame).A large format work which presents us with a discordant world, where through a realistic language, the author constructs a fantasy.a surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.
Lot 42
KAWS (New Jersey, 1974)."Sesame Street, Complet box".2018. for Uniqlo, London.Complete set of 5 plush toys.In plush.In original box, with Uniqlo label.Measurements: 35 cm. approx. q.s.Kaws reappropriates pop culture icons such as Sesame Street, Mickey Mouse, the Michelin Man, the Smurfs, Snoopy, and SpongeBob SquarePants. His characters are generally depicted in a timid or helpless pose often with their hands over their eyes. The work of American designer and artist Brian Donelly, popularly known as Kaws, includes the repeated use of a cast of figurative characters and motifs, some of which date back to the beginning of his career in the 1990s, initially painted in 2D and later realised in 3D. Some of his characters are his own creations, while others are modified versions of existing icons.Kaws' sculptures range in size from a few centimetres to ten metres tall, and are made of various materials including fibreglass, aluminium, wood, bronze and an inflatable steel pontoon raft. His work is exhibited in galleries and museums, held in permanent collections in public institutions, and avidly collected by individuals, including music producer Swizz Beatz and rapper Pharrell Williams. Several books illustrating his work have been published. He lives and works in Brooklyn, New York, creating sculptures, acrylic paintings on canvas and silkscreen prints, while also collaborating commercially, predominantly on limited edition toys, but also on clothing, skateboards and other products.
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