"MAESTRO PALMERO"; ALFREDO PALMERO DE GREGORIO (Ciudad Real, 1901 - Barcelona, 1991)."Pau Casals at the White House".Oil on canvas.Signed in the lower right corner.Certificate attached.With sealing wax seal of the Palmero Museum.Measurements: 89,5 x 116 cm; 116,5 x 143 cm (frame).Of Neapolitan descent, Alfredo Palmero showed a clear interest in painting from his childhood. In his adolescence, and in search of new horizons, in 1913 he moved to Madrid to enter the San Fernando Academy of Fine Arts at the age of fourteen. There he was taught by Sorolla, Romero de Torres and Valle Inclán, the latter as a professor of aesthetics. During these years he also made frequent visits to the studio of the photographer and painter Vicente Rubio Sánchez. Palmero became fully integrated into the bohemian atmosphere of the capital, and was a regular at the gatherings of well-known cafés such as "El Parnasillo" and "La Fontana de Oro", where the liberal and intellectual atmosphere was prominent. There he came into contact with Unamuno, Juan Ramón Jiménez, García Lorca and Manuel de Falla, among others. It was precisely the atmosphere of the cafés of the time, full of splendour and culture, that he would capture in his canvases. In 1920, after making his individual debut at the Casino de Ciudad Real, he left Madrid and moved to Paris, attracted by the pictorial novelties of the French capital. In this city he became interested in new trends such as Dadaism, and especially in Apollinaire and other leading figures of the time. It was at this stage that he began to produce his moving and personal works, focused through a gaze of Romantic heritage. His painting was filled with luminosity, rich chromaticism, formal exuberance, sharpness of perspective and, above all, pictorial fantasy. Thus his paintings of the Folies Bergère, Pigalle, Montmartre, Montparnasse, etc. were born. He then made a series of trips to Germany, Italy and Belgium, where he portrayed, as he had done in Madrid and Paris, the everyday life of the cities. On his return to Spain he taught art in Ciudad Real, Burgos, Toledo and Barcelona, where he settled permanently in 1940. Barcelona became his platform for Europe and America, where he founded the Instituto Palmero de Arte. In 1964 he created the Palmero Museum in his hometown, Almodóvar del Campo, in a mansion in La Mancha where he used to spend his summers. In 1972 he was named Favourite Son of Almodóvar, and in 1983 he joined the Institute of La Mancha Studies. During his lifetime, he exhibited his work both in Spain and abroad, in cities such as Osaka, Paris, Brussels, Florida, Bogota and Caracas. Maestro Palmero is currently represented in the museum that bears his name in Almodóvar and in the museum of Don Quixote in Ciudad Real, as well as in private collections in Spain and abroad.
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FRANCESC MASRIERA MANOVENS (Barcelona, 1842 - 1902)."Lady", 1900.Oil on panel.Signed and dated in the lower right corner.Size: 32 x 25 cm; 60 x 52 cm (frame).As it can be appreciated in this work, Masriera put special interest in the female figure, deepening in the eroticism and in the emotional strength of his portraits, which he used to represent in sumptuously ornamented environments and adorned with rich dresses, headdresses and jewels. In the present painting we see a young woman lying on a sofa in a prosaic pose. The scene is resolved by the contrasting treatment of the light, the framing close to photography and the austere palette.A painter, writer and goldsmith, Francisco Masriera cultivated the genre of portraiture and Orientalist painting, and is now considered one of the best portraitists who followed in Fortuny's footsteps. The son of the prestigious goldsmith José Masriera Vidal and brother of the painters José and Luis Masriera, Francisco began his artistic training under his father's guidance in the family jewellery workshop and with the painter José Serra Porson. He then travelled to Geneva to learn the technique of enamelling, although he gradually turned to painting, specialising in portraits. Around 1865 he moved to Paris, where he attended Alexandre Cabanel's studio and devoted himself to copying the great masters of the Louvre. He subsequently travelled to Rome, where he began to paint Orientalist canvases. As a writer and columnist he contributed to the magazine "El Recuerdo". Francisco Masriera took part in the Universal Exhibitions in Paris in 1867, 1878 and 1889, and was awarded a third-class medal at the latter. At the National Fine Arts Exhibition in Madrid in 1878 he was awarded a second medal for the work entitled "La esclava" ("The Slave"), which was finally acquired by King Alfonso XII. He also showed his works at the Bosch gallery in Madrid in 1882 and at the Sala Parés in Barcelona in 1889. His portraits include the one he painted of the Queen Regent Maria Cristina with her son Alfonso XIII in 1888, which currently presides over the Queen Regent's Hall in Barcelona's Casa de la Ciutadella. Close to the group of Spanish painters based in the French capital, including Francisco Miralles, Romà Ribera and Federico de Madrazo, his international reputation was strengthened when he signed a contract with Goupil, the most important art dealer of the day, to sell his work. His paintings are characterised by the perfection of the drawing, the careful composition and a colouring full of strength and luminosity, which is particularly evident in the sunny tones of the canvases. This painter practised a preciousness full of fantasy and decorative sense, in which the freshness of the colour is reminiscent of the gallant painting of Watteau and Fragonard. In his studies, compositions and portraits he focused mainly on the female figure, depicted in sumptuously ornamented settings and adorned with rich dresses, headdresses and orientalist jewellery. Francisco Masriera is represented in the Museo del Prado, the Museo de San Telmo in San Sebastián, the Museo de Bellas Artes de Álava, the Museo Nacional de Arte de Cataluña, the Museo de la Abadía de Montserrat and the Patrimonio Nacional, as well as in various private collections.
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972)."Domestic Animals", 1952.Oil on canvas.Work reproduced in the catalogue raisonné Volume II. Francisco Bores, painting 1945-1972, p. 232.With informative labels on the back (Laine Lana Gallery, Biosca Gallery and Louis Carré Gallery).Signed and dated in the lower right-hand corner.Provenance: Louis Carré Gallery (Paris).Size: 38.5 x 46 cm; 61 x 69 cm (frame).A year before this work was made, Borés joined the group of artists of the Louis Carré Gallery in Paris. In the image Borés offers us a scene made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, constructed by means of broad brushstrokes with energetic strokes. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of all artifice or anecdotal detail.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
GABRIEL PUIG RODA (Tírig, Castellón, 1865 - Vinaròs, Castellón, 1919)."Family of Peasants".Oil on panel.Signed in the lower right-hand corner.Measurements: 40,5 x 26 cm; 42,5 x 27,5 cm (frame).A family of grape pickers appears gathered around a big basket. Attentive observer of his immediate surroundings, the painter composes an intimate scene brimming with activity. Oblivious to our gaze, each character focuses on his work. The costumes, based on scarves, lace and prints, are depicted with a folkloristic flavour.Gabriel Puig Roda studied art at the San Carlos School of Fine Arts in Valencia, where he entered in 1879 thanks to a scholarship from the Diputación de Castellón. Again with a scholarship he went to Madrid to further his studies at the San Fernando School. There he obtained the pension to go to Rome in 1889, where he remained until 1892. In the Italian capital, in order to perfect his use of watercolour, he attended classes at the Academia Chigi and the Círculo Internacional de Bellas Artes, showing the influence of his Italian contemporaries in his work during these years. In 1890 he had already gained a certain international public, to whom his proxy sold panels and watercolours. His first Roman period came to an end at the end of his scholarship in 1892. He then travelled to Pisa, Genoa, Milan, Padua, Venice and Bologna, where he made sketches of typical landscapes and places which he used for his compositions. After a period in Spain he returned to Rome and painted "The Expulsion of the Moors", a painting he sent to the Valencia Provincial Council in 1894. His works from this period fall into two main groups; firstly, there are the Fortuny-influenced themes, which include genre and orientalist paintings. Secondly, there are the naturalistic themes, such as "El mendigo de la guitarra" ("The beggar with the guitar") and "La visita del corregidor" ("The visit of the corregidor") in which Puig Roda, influenced by the literature of his time, crudely depicts genre scenes of the period. After a period in Barcelona, the painter finally settled in Vinaròs in 1905, where he specialised in watercolours of genre scenes. An important collection of his works was donated by his children in 1975 to the Diputación de Castellón de la Plana, destined for the future Provincial Museum of Fine Arts. An international watercolour competition is currently held in Vinaròs and bears his name.
VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Twilight".Oil on canvas.Signed in the lower left corner.Work exhibited at the Witcomb Salon in Buenos Aires, 1930. Referenced in the catalogue of the exhibition with n.84.Measurements: 91 x 91 cm; 112 x 112 cm (frame).This is a type of composition that Valentín Zubiaurre used repeatedly, and which here manages to express a genuine feeling: with the members of a family in the foreground (in this case, a grandmother and her grandchildren) and the Basque landscape opening up behind them, with fields, farmhouses and rocky outlines. In the self-absorbed faces, the contrast between the smoothness of the young faces and the aged skin of the old woman stands out. The ochre and sienna tones dominate the whole, lending the painting a melancholy patina. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, with the development of an art with a Romantic, costumbrista and realist heritage, which focused on depicting subjects and characters that reflected a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
RICARD CANALS LLAMBÍ (Barcelona, 1876 - 1931)."Cadaqués, Costa Brava".Oil on canvas.Signed in the lower right corner. Titled on the back.Size: 24 x 33 cm; 38 x 47 cm (frame).Ricard Canals was a painter, draughtsman and engraver, member of the "Colla del Safrà" (Saffron Group, so called because of its peculiar chromatic palette) together with the painters Nonell, Mir, Pichot and Vallmitjana. He began his studies at the La Lonja School in Barcelona, but abandoned them shortly afterwards to continue painting in the street. A friend of Isidre Nonell, in 1896 they travelled together to Caldes de Boí, and the following year they moved to Paris. In the French capital they both exhibited at the Chez Dosbourg gallery with great success. Nonell returned to Barcelona and Canals stayed on to work for the dealer Durand-Ruel, the dealer of the Impressionists, representing artists such as Corot, Monet and Pissarro. He was a personal friend of Picasso at this time, who portrayed his wife. He took part in the French Salons of 1897 and 1898, as well as in the exhibition held in 1902 at the Durand-Ruel gallery in New York. In 1907 he returned permanently to Barcelona, where he presided over the association Las Artes y los Artistas. From then on he made several trips around Spain, visiting Madrid, Seville and Granada. From then on his works had a distinctly Spanish flavour, combined with his modern language. It was precisely this Spanish theme that brought him his greatest success in Paris, although in his later years he evolved towards a style of painting closer to noucentisme. He also distinguished himself as a portraitist. His last important work, before his premature death, was the decoration of the ceiling of one of the halls of Barcelona City Hall. In 1933, two years after his death, the Sala Parés in Barcelona held an extensive exhibition in homage to him. Much of his work is kept in the National Art Museum of Catalonia, but it is also in the collections of the Abbey of Montserrat, the Thyssen-Bornemisza Museum and the National Museum of Fine Arts in Chile.
EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047519.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures worked in various levels of relief, some of them even approaching the round figure. It is a representation of a group of nymphs and fauns, embracing and playing, their bodies confused by Arnau's soft modernist forms.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a disciple of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own studio in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the 1888 Barcelona Universal Exhibition, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.
EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047518.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures and other motifs worked in various levels of relief, some of them even approaching the rounded bulk. It depicts a medieval princess being pursued by a dragon that appears crawling in the lower area, under the body of which the skull of one of its victims is visible. Between the two figures is that of a knight in armour and helmet, wielding a sharp sword with which he threatens the monster.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a pupil of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own workshop in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the Universal Exhibition of Barcelona in 1888, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.
"SHUM"; ALFONS VILA (Sant Martí de Maldà, Lérida 1897-Cuernavaca, 1967)."Landscape" and "Composition".Watercolour on paper.Painted on both sides.Signed in the lower right corner.Size: 30 x 42 cm. Caricaturist and cartoonist, he was known as Shum, Juan Bautista Acher, El Poeta or El artista de las manos rotas. His anarchist militancy led to several imprisonments and exile at the end of the Civil War. He published in Solidaridad Obrera, Justicia Social, La Campana de Gracia, La Opinión, La Humanidad, Rambla, L'Esquella de la Torratxa, Papitu, and Viva !, among others. In October 1922, he was sentenced to death for his involvement in an attempted assassination attempt against General Martínez Anido and for the explosion that took place while they were handling some devices, which caused the destruction of the building and the death of five people in Toledo Street in Barcelona. The conviction sparked a campaign of solidarity calling for the abolition of capital punishment, in which such prominent figures as Máximo Gorki, Errico Malatesta, Santiago Ramón y Cajal, Valle-Inclán and, above all, the writer Concha Espina, who personally requested a pardon for the military directorate, took part. The campaign also included a monographic exhibition of his drawings at the Ateneo Enciclopédico Popular. Finally, his sentence was commuted to life imprisonment, and he was amnestied in 1931, when Victoria Kent became director general of prisons for the Republic. In 1934 he was appointed a member of the Barcelona Museums Board. He was a member of the Group of Six together with Helios Gómez, Alfred Pascual y Benigani, Marcelino Puerta y Fernanda, Lluís Elias y Bracons and Josep Bartolí and participated in the Union of Professional Draughtsmen. He fought on the front during the Civil War and went into exile in France at the end of the conflict. He subsequently lived in the Dominican Republic, Cuba, the United States and finally in Cuernavaca, Mexico, where he died. El dibujante anarquista contains texts by Josep Maria Cadena, Lluis Solà and Jaume Capdevila in Kap art. Through it it is possible to reconstruct. The peculiar life story of our man, which includes a career as brief as it was catastrophic in Barcelona anarchism, followed by his flight from Spain and his passage through different countries until he ended up in Mexico, where he died.
OMER FAWZI EFFENDI (Istanbul, 1914-1984)."Interior of a café.Ink on card.Signed in the lower left corner.Size: 22 x 29 cm; 38 x 43,5 cm (passe-partout).In this scene the author presents us with the world of the cafés, with characters in oriental clothes, with the usual low tables and chairs consuming bongs. However, despite this orientalist allusion, the artist introduces a young man who breaks with the scheme of the image. In the lower right-hand corner of the composition, a young man stands before the viewer in Western dress, Prince Omer Fawzi was born in the Haider Pasha Palace in Istanbul, a descendant of the last sultans of the Ottoman Empire. Prince Omar Fawzi studied painting in France and moved to the Bouzar University, Faculty of Fine Arts, in Paris, at the age of 19. During his stay in the French capital he developed strong friendships with the Spanish artists Salvador Dalí and Picasso, during which he had extensive conversations and discussions on philosophy and art at the famous Café de Flore in Paris.
JOHAN ROHDE (1856-1935) for GEORG ARTHUR JENSEN (Denmark, 1866 - 1935)."Bonbonnière no. 249.Sterling silver.With contrasts on the base.Measures: 14 x 11 x 11 cm."Elegant and refined, Johan Rohde's exquisite collection of silverware for Georg Jensen combines elements of Art Nouveau and Art Deco, while adding a distinctive touch of classic Scandinavian style". This is how Jensen's own silverware defines the collaboration with designer Johan Rohde, who played an important role in the development of Danish craftsmanship with his high-quality silver designs. Rohde worked for Jensen for many years, securing an exclusive contract with him in 1914. Among his most significant designs for Georg Jensen are the cutlery patterns Acorn (Konge, 1915) and Schroll (Sagam 1927) and the Cosmos yea and coffee. service (1915). A Danish silversmith active in the late 19th and early decades of the 20th century, Jensen was the son of a knife sharpener from Raadvad, north of Copenhagen. He began his training as a silversmith at the age of fourteen in the Danish capital, as a pupil of Guldsmed Andersen, and became independent in 1884 to follow his own creative path. Interested in sculpture since he was a child, he entered the Royal Academy of Fine Arts, where he graduated in 1892. From this date onwards he began to exhibit his works. Although his clay sculpture was well received, Jensen turned his attention to the applied arts in order to earn a living. He began to work as a modeller at the porcelain manufactory Bing & Grøndahl, and from 1898 he combined this activity with his work in the small ceramics workshop he founded together with Christian Petersen. However, although his pieces were once again well received, his sales were not enough to support Jensen and his family, so in 1901 he abandoned ceramics and began to work as a silversmith and designer with Mogens Ballin. Three years later he became independent and opened his own silversmith's workshop in Copenhagen. Jensen's training as a silversmith and his education in fine art enabled him to combine the two disciplines to revive the tradition of the artisan artist. Soon, the beauty and quality of his Art Nouveau creations fascinated the public, ensuring his success. By the end of the 1920s, his Copenhagen workshop had grown considerably, and he had also opened shops in New York, London, Paris, Stockholm, Berlin and other cities. In fact, during this decade Jensen sold his Spanish-made designs in the old jewellery shop at 90 Paseo de Gracia in Barcelona. Today, the firm that bears his name is still active and has become the paradigm of Scandinavian luxury design.
Bust of a Roman emperor, 19th century.Alabaster sculpture on a veined marble base.It shows some old restoration, wear, scratches and slight cracks in the alabaster.Measurements: 47 x 24 x 13 cm.Bust of a Roman emperor dated in the 19th century. It is inspired by the classical sculptures made in the Renaissance and Baroque periods, especially in Italy. These were based on those of the Roman Emperors, found in the Italian capital itself, in which different marbles were combined. Stylistically, the idealisation of the emperor stands out, a detail also inspired by these ancient examples, with a somewhat pictorialist treatment of the hair, which was also common on occasions.
FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914)."Fish".Bronze dish with cloisonné enamel.It shows losses and damage. Needs restoration.Measurements: 37 cm (total diameter).Francesc Vidal was one of the most outstanding decorative artists in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship in the heart of the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms in the Círculo del Liceo and also royal commissions such as the bedrooms in the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.
In boxwood. Measurements from head to feet: 65 cm, measurements from index finger to index finger: 61 cm. Exceptional discovery, it preserves original polychromy, some remains of xylophages. Possible private devotional commission, with fine details and dramatic expression and very detailed carving work of hands and feet, we can frame this spectacular Christ in boxwood within the scope of the Italian Renaissance sculptor Jacobo Florentino, who developed his work mainly in Spain; some of them are the first body of the tower of the Cathedral of Murcia, the Municipal Palace of Villena or the baptismal font that he made in the archpriestal church of Santiago in the same city, where he died in 1526. Previously he had worked in the Granada city. For the Order of Augustinian Brothers of this city he carved an image of Christ in 1520, known as Santo Cristo de San Agust’n, of deep pathos. In the same city he made another Christ that is preserved in the church of the convent of La Concepci—n, in the Albaic’n neighborhood, as well as a third crucified for the monastery of La Encarnaci—n in the same Granada capital. Anecdotally, the three crucified that are preserved in the city of the Alhambra are guarded by the female branch of the Franciscan order. She is also credited with works in the castle of VŽlez Blanco. Related works: Christ of San Agust’n, preserved in the Convent of Santo çngel Custodio (Granada, Spain). Origin: Madrid private collection. as well as a third crucified for the Monastery of La Encarnaci—n in the same capital of Granada. Anecdotally, the three crucified that are preserved in the city of the Alhambra are guarded by the female branch of the Franciscan order. She is also credited with works in the castle of VŽlez Blanco. Related works: Christ of San Agust’n, preserved in the Convent of Santo çngel Custodio (Granada, Spain). Origin: Madrid private collection. as well as a third crucified for the Monastery of La Encarnaci—n in the same capital of Granada. Anecdotally, the three crucified that are preserved in the city of the Alhambra are guarded by the female branch of the Franciscan order. She is also credited with works in the castle of VŽlez Blanco. Related works: Christ of San Agust’n, preserved in the Convent of Santo çngel Custodio (Granada, Spain). Origin: Madrid private collection. Spain). Origin: Madrid private collection. Spain). Origin: Madrid private collection.
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Sala Gaspar, Barcelona".Lithograph on paper, copy 3/3.Signed and dated in pencil by Pablo Picasso.Presents certificate from the Sala Gaspar.Measurements: 24 x 18 cm; 39 x 34 cm (frame).This lithograph is a Christmas greeting card from the 1960s from the Sala Gaspar in Barcelona. It is signed by Pablo Picasso, both in plate and by hand. It is an invitation addressed to Marisol de Villanueva, an actress and director of western cinema, who was also a good friend of the cubist artist.Pablo Ruiz Picasso is the great genius of contemporary painting. The creator of Cubism together with Braque, his capacity for invention and creation places him at the pinnacle of world painting. He was born in Malaga, where his father was a drawing teacher and director of the Municipal Museum. The Ruiz Picasso family soon moved to A Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the style of the school was entirely academic, the painter soon came into contact with modernist groups which changed his form of expression. Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything, but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with bright colours and strange shapes.In the 1950s he made several series of important classical paintings which he reinterpreted in homage. By the 1960s he had become a legend in the art world and the artist lived his last years at the Château de Vouvenargues, where he was able to continue his work until the end of his life. An example of this work is this Christmas invitation.
ROBERT COMBAS (Lyon, 1957).Untitled, 1992.Lithograph on 270 grams vélin d'Arches paper, copy 221/250.Signed, dated and numbered in pencil.Size: 90 x 63 cm.French painter and sculptor, Robert Combas trained at the school of Fine Arts in the city of Sete, in the southeast of France, and held his first personal exhibition in 1980. He is considered the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Free figuration, "a painting that does not deny its primitive instincts or its desire for culture" according to Combas himself, has its roots in Fauvism and Expressionism and establishes a connecting thread with the Neo-Expressionist movement and graffiti art. Combas's works thus become a critique of society in general, through an intense style based on the use of powerful, vivid and passionate colours that leave no centimetre of the canvas free, outlining the figures he depicts in black.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Articulation".Etching on Rives BFK paper. Copy 28/50.Work reproduced in OPUS Volume I, page 52, Nº 62001.Signed and justified in pencil.Measurements: 15.5 x 20.7 cm (print); 38 x 48 cm (paper); 39 x 49 cm (frame).The idea of articulation was a constant in the work of Chillida, who reflected the concept through painting and sculpture. In this particular case, the work on paper shows us a set of vibrant lines that seem to simulate a map in which the spectator can lose himself by looking through the lines.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Virginity of colour", 2022.Pastel and oil on canvas.Attached certificate issued by the artist.Signed and dated on the back.Measurements: 90 x 90 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.
The Blitz - a WWII Second World War oil on board painting by an ARP Air Raid Precautions warden. The scene depicting a London skyline from across The Thames under attack from German ariel bombs. The text on paper to the lower right corner reading ' Painting Of The Capital During The Blitz 1940 by A.W Turner (Warden). Measures approx 30x47cm.
A collection of x5 Midland Railway Posters or Handbills. Day Trips to the Crystal Palace. Printed by Thomas Cook and published by the Midland Railway 1873 to 1878. On paper size 22 by 14 cm. They advertise day trips from Yorkshire to London for the Crystal Palace and other venues in the capital and also to Matlock and Buxton for Well Dressings. With details of train times and ticket prices for journeys from Bradford, Shipley, Leeds etc. and further information about these and other Thomas Cook excursions. Colour.
Tindall Nicolas Rev - History of England pages and maps, 18th century, including Map of the Seat of War in Hungary between the Imperialists and the Turks; Map of the Seat of War in Germany; Map of the Seat of War in Italy. The lot continues with maps of cities, battle sites including Plan of Mons; Plan of the Camp & Retrenchments of Denain; Camp of the Army of the Allies Commander by General Auverquerque; Arras the Capital Town of the County of Artois; Plan of Oudenard a Fortified Town in the Earldom of Flanders; Plan of Dunkirk as given to the Duke of Ormond when he left the Army of Allies 1712; Plan of Lisle besieged and taken by the Allies in 1708; Plan of the Battle fought near Winendael; Plan of the City and Citadel of Turin; Lines of Stolhoffen in Alsacia; Battle of Donawert July 1704; Plan of Temiswar and it's Neighbourhood; Plan of Bethune Artois; Plan of Tournay 1709; Plan of the Battle of Eckeren 1703; Plan of Ausburg & Adjacent Country; Old and New Brisach; Plan of the Town of Barcelona; Plan of the Town and Castle of Traarbach; Plan of the Battle of Marseille; Plan of the Town of Menin; Plan of Ypres; Plan of Philipsbourg; Plan of the Town of Bouchain; Plan of the Battle of Chiari; Plan of the Battle of Quesnoy; Plan and Attack of the Town of St Leeuw. Lastly this lot contains title pages including 'The Passage of Scbeld', 'Duke of Marlborough and Prince Eugene of Savoy entering ye enemys intrenchments at the Battle of Taniers; Siege of Mons and The Battle of Luzzara.
dating: Mid 19th Century provenance: Persia, Solid, single-edged, triangular blade, the base with very fine gold decorations depicting a hunting scene with a lion and two roe deer, higher up a bird, all among floral motifs, on both sides, the back ribbed. Capital knot, faceted and decorated with flowers in gold. Grip with beautiful walrus-tusk grips, with iron band at the center; the rear part and the pommel decorated with a similar hunting scene, the lower part with garlands with beaded edge. length 36.5 cm.
dating: Second half of the 18th Century provenance: Bologna, Smoothbore, two-stage, 10 mm cal. barrel, octagonal and round with rings at the girdle. Fine flintlock with flat lock plate engraved with the effigy of a lady and an arquebusier, head of the cock screw and batterie decorated with faces in relief. Marked with "brento" in small letters at the rear side. Working mechanism. Wooden full stock (fracture repaired at the neck, forend with an old reattachment/restoration) carved with some floral motifs. Brass mounts. Missing ramrod. Pommel and trigger guard with portraits of ladies in relief, the former also carved with grotesque decorations. Counterplate and escutcheon also pierced with effigies of harpies or sirens, the former also with a portrait, the latter with a shield. Francesco Negroni (c. 1725-1775), progenitor of the dynasty of the same name, is the initiator of a decorative style which became very popular in the Bolognese Apennines, all the way to Anghiari and beyond. It is widely known that most of Francesco's arms are marked only with the inscription 'brento' inside the lock, in italics and without capital letter. Probably because he signed the pairs disjunctively (one with the name, the other with the place) or because he thought it was sufficient to sign only with the place. Cf. 'Repertorio Storico degli Archibugiari Italiani' by B. Barbiroli, pp. 742-745. length 36,5 cm.
dating: Mid 19th Century provenance: Kutch, Heavy, wide, single-and-false-edged blade with a slightly hollowed and ribbed tip; decorated with gilded silver floral motifs on a granulated background at the first part and at the back. The base of the blade held by a beautiful hilt shaped as an elephant's head, gilded and decorated with green and red stones, as the cylindrical, bronze shaft decorated en suite and finely engraved with floral motifs. Lantern-shaped pommel with a turn-off, bud-shaped button containing a single-edged knife with silver-plated grip inside. Beautiful, gilded-silver scabbard with fine engravings, depicting matching floral motifs on a granulated background; the inner part made of wood and partially covered with red velvet. A small suspension ring. The name Bhuj probably derives from the name of the city of Bhuj, the former capital of Kutch, and today part of Gujarat. According to Elgood, the name Bhuj is unknown in Rajasthan or Deccan. Literature: Civita, 2014 'Islamic Arms and Armours from Frederick Stibbert's Collection', p. 78, illustration 73.'Islamic and Oriental Arms' by Robert Hales, see three Bhuj of this type on page 300 no. 720 (a-c), the one at the centre is partially decorated with coloured stones like our item, but all three are exceptional like our piece. length 52 cm.
François de Salignac de La Mothe Fénelon. Les Avantures de Télémaque, fils d'Ulysse. Par feu Messire François de Salignac, De la Mothe Fénelon, Précepteur de Messeigneurs les Enfans de France, & depuis Archevêque-Duc de Cambray, Prince du Saint Empire. Nouvelle Édition, Conforme au Manuscrit original, Et enrichie de Figures en taille-douce. Mit gest. Frontispiz, gest. Porträt, gest. Karte, 24 Kupfertafeln sowie zahlreichen Vignetten. Amsterdam, J. Wetstein und G. Smith, Rotterdam, J. Hofhout, 1734. 2 Bll., X, XXVII (recte XVII), 424 S. 4°. Geflecktes Kalbsleder d. Zt. auf 5 Bünden mit reicher verg. RVerzierung und RSchild. Steh- und Innenkantenfileten, Marmorvorsätze, Rotschnitt. (Etwas berieben und bestoßen, Gelenke angeplatzt, oberes Kapital mit Fehlstelle) Brunet II, 1214. Fürstenberg 71. Sander 657. Cohen-R. 381. - Wunderbar illustrierte Ausgabe dieses Meisterwerks des 18. Jahrhunderts, einschließlich der drei oft fehlenden Blätter der Ode am Ende und der Kupferstichkarte "Carte des voyages de Télémaque selon Mons.r Fénelon par le S.r Rousset". Die Tafeln gestochen u.a. von Folkema nach Dubourg und Picart und Gunst nach Debrie. Das Porträt des Autors von Drevet nach Vivien. - Papierbedingt gebräunt und vereinzelt etwas fleckig. 1 Bl. im unteren Rand hinterlegt. Insgesamt wohlerhalten. With engr. frontispiece, engr. portrait, engr. map, 24 copper plates and numerous vignettes. Cont. mottled calf with rich gilt ornamentation and label on spine. (Somewhat rubbed and bumped, joints chipped, upper capital with missing part). - Wonderfully illustrated edition of this 18th century masterpiece, including the three often missing leaves of the ode at the end and the engraved map "Carte des voyages de Télémaque selon Mons.r Fénelon par le S.r Rousset". The plates engraved by Folkema after Dubourg and Picart and Gunst after Debrie, among others. The portrait of the author by Drevet after Vivien. - Paper browned and a little bit stained in places. 1 sheet backed in lower margin. Altogether in good condition.
Giovanni Boccacci. Furnem(m)ste Historien und exempel vom widerwertigem Glück, mercklichem und erschröcklichem unfahl, erbärmlichen verderben unnd sterben, großmächtiger Kayser, Künig, Fürsten unnd anderer namhafftiger Herrn. In neün Büchern, durch ... Joannem Boccatium von Certaldo in Latein beschriben ... von Hieronymo Ziegler fleyssig verteütscht. Mit Titelholzschnitt, Wappen-Holzschnitt auf dem Titel verso u. 119 Textholzschnitten von H. Burgkmair, H. Schäufelein u.a. Augsburg, H. Steiner, 1545. 6 nn., 250 num. Bll. 4°. Schweinsldr. d. Zt. auf 4 Bünden über Holzdeckeln mit Streicheisenlinien u. Rollenstempeln, tls. abgefasten Kanten u. 2 Schließen (berieben, Rücken gebräunt, Ecken bestoßen, oberes Kapital mit kl. Fehlstelle, Schließbänder erneuert, geringe Wurmspuren). Erste deutsche Ausgabe von "De casibus virorum illustrium". - VD 16, B 5813. - IA 120.299. - Lipperheide Cg 34. - Oldenbourg L 197. - Die schönen Holzschnitte, in versch. Formaten u. in unterschiedlicher Qualität, sind meist früheren Drucken Steiners entnommen, u.a. dem deutschen Cicero von 1534, Petrarca und Theuerdank. - Gleichmäßig gebräunt, vereinzelt gering fingerfleckig, 2 Bl. mit kl. Rasurstellen. - Angebunden: Ders. Ein Schöne Cronica oder Hystori buch, von den fürnämlichsten Weybern. Nachmaln durch Henricum Steinhöwel in das Teütsch gebracht. Mit 81 (inkl. Titel) Textholzschn. von L. Beck, J. Breu u. H. Schäufelein. Ebd., 1541. 6 nn., 90 num. Bl. - Erste deutsche Ausgabe bei Steiner von "De claris mulieribus" und mit diesen Illustrationen. - VD16 B 5816. - Dodgson II, 14, 34 u. 127. - Oldenbourg L 194. - Hollstein (Beck) II, 172, 15 u. (Breu) IV, 182, 528-608. Vgl. Fairfax Murray I, 80 (2. A. 1543). - Der Übersetzer Steinhöwel widmet das Buch "allen frommen Weybern zu einer Eer, und den bösen zur besserung und warnung". "Vor allem offenbart sich seine humanist. Gesinnung in der Stellung zur Frau. Schon die Wahl von Boccaccios Werk ist bemerkenswert" (Stammler). - Die Holzschnitte waren ursprünglich für eine von Steiner vorbereitete Dekameron-Ausgabe bestimmt, einige sind Wiederholungen aus anderen Verlagswerken. Nach Hollstein stammen 77 Holzschnitte von Jörg Breu, 3 von Leonhard Beck u. 1 von Hans Schäufelein. - Wappenexlibris "I. E. Ruedorffer.S.TL.". - Gleichmäßig gebräunt, vereinzelt gering wasserfleckig, Titel mit Randausriss (wohl durch Verlust eines Blattweisers), 2 Bl. mit kleiner Rasurstelle, Bl. 46 mit 2 Randeinrissen. - Sehr seltener Sammelband mit den zwei hervorragend und reich illustrierten Werken Boccaccios über die bedeutenden Männer und Frauen der Geschichte, beide in erster deutscher Ausgabe. With title woodcut, coat of arms woodcut on title verso and 119 woodcuts in text by H. Burgkmair, H. Schäufelein a.o. Contemp. pigskin on 4 raised bands over wooden boards with string lines and roller stamps, partly chamfered edges and 2 clasps (rubbed, spine browned, corners bumped, upper capital with small missing part, leather of clasps renewed, small traces of worming). - First German edition of "De casibus virorum illustrium". - The beautiful woodcuts, in various formats and in different quality, are mostly taken from earlier prints by Steiner, among others from the German Cicero of 1534, Petrarch and Theuerdank. - Uniformly browned, sporadically a little fingerstained, 2 leaves with small shaved areas. - Bound with: As listed above. With 81 (incl. title) wood engravings in text by L. Beck, J. Breu u. H. Schäufelein. Ibid., 1541. - First German edition by Steiner of "De claris mulieribus" and with these illustrations. - The translator Steinhöwel dedicates the book "to all pious weybers for an eer, and to the wicked for improvement and warning". His humanist attitude is revealed above all in his attitude to women. The choice of Boccaccio's work alone is remarkable" (Stammler). - The woodcuts were originally intended for an edition of the Decameron prepared by Steiner, some are repetitions from other publishers' works. According to Hollstein, 77 woodcuts are by Jörg Breu, 3 by Leonhard Beck and 1 by Hans Schäufelein. - Heraldic bookplate "I. E. Ruedorffer.S.TL.", uniformly browned, sporadically a little bit waterstained, title with marginal tear (probably due to loss of a page pointer), 2 leaves with small shaving spot, leaf 46 with 2 marginal tears. - Very rare collective volume with the two excellently and richly illustrated works of Boccaccio on the important men and women of history, both in the first German edition.
Rechtswissenschaften - - Wiguläus Xaverius von Kreittmayr. Anmerkungen über den Codicem Maximilianeum Bavaricum civilem, worinn derselbe sowol mit dem Gemein- als ehemalig- Chur-Bayerischen Land-Recht genau collationirt, sohin der Unterschied zwischen dem alt- und neueren Recht, samt den Urquellen, woraus das letztere geschöpft worden ist, überall angezeigt, und dieses dadurch in ein helleres Licht gesetzt wird. 5 Bände. München, Vötter, 1758-1768. Folio. Ldr. d. Zt. mit 2 farb. RSchild. Etw. berieben u. bestoßen, 1 unt. Kapital mit Fehlstelle, Deckel wurmspurig). Erste Ausgabe. - Pfister I, 76. Stintzing/L. III/1, 225f. Stobbe II, 444. - Enthält Familienrecht, Eigentums- und Dienstrecht, Bräu-Gerechtigkeit, Brücken-, Forst-, Gastwirts- und Metzgerrecht, Erb- und Handelsrecht, Schul-, Bürger- und Handwerksrecht u. v. m. - Komplettes Exemplar mit den noch 1768 erschienenen Zusätzen. - Teilw. leicht gebräunt und wenig stockfleckig. 5 vols. Cont. leather with spine labels (somewhat rubbed and bumped, one lower capital with missing part, cover worm-marked). - First edition. - Contains family law, property and service law, brewery law, bridge, forest, innkeeper and butcher law, inheritance and trade law, school, civil and craft law and much more. - Complete copy with the additions published in 1768. - Partly slightly browned and a little foxed.
Inkunabeln - - Biblia Latina. Mit großer Eingangsinitiale in Blau und Rot auf Goldgrund und durchgehend mit eingemalten Initialen und Lombarden in Rot und Blau sowie Druckermarke. Zweispaltiger Druck, 56 Zeilen. (Basel). Nikolaus Kessler, 1487. 435 (von 436) Bll. (ohne das Titelbl. - dies in Fotokopie beigebd. und ohne das laut GW nachträglich beigebd. Doppelbl. mit der Prefatio). Folio. Halb-Schweinslederband auf Holzdeckeln mit (das Leder erneuerten) Schließen und (mod.) goldgepr. RSchd. (Pergamentbezug stärker beschabt, oberes Kapital mit kl. Fehlstelle, teils mit kleinen Wurmlöchern). Erste Biblia-Inkunabel bei Kessler. - GW 4262 - Hain-C. 3100 - BMC III 765 - Goff B-585 - Erstmals mit dem Anhang "Translatores bibliae". - Prachtvoller Bibeldruck mit einer Fülle von eingemalten, teils größeren Initialen, abwechselnd in Rot und Blau. - Teils etwas gebräunt und leicht fleckig, am Oberrand teils mit schmalem Feuchtigkeitsrand, wenige Notizen von alter Hand, Bl. a2 etwas gebräunt u. fleckig, mit Besitzvermerken und kleinem Wurmloch im Außenrand (a3 noch schwach betroffen), Innendeckel alt beschrieben, 1 Bl. mit Eckabriß (außerhalb des Textes). Ab Blatt B2 sind 10 Bll. mit abnehmendem Brandloch im rechten Außenrand mit Textverlust, Bl. B2 größer (ca. 11 x 1,5 CM), die übrigen 9 Bll. mit ca. 1,5 x 4 cm Brandloch (kleiner werdend). First Biblia incunabulum by Kessler. Splendid Bible print with very numerous painted initials (some of them larger) and lombards, alternating in red and blue. - 435 (of 436) ll. (without the title fol. - this in facs. added and without the double leaf with the Prefatio added later according to GW). Folio. Half pigskin on wooden boards with (leather renewed) clasps and (mod.) gilt-embossed boards. (Parchment cover more scuffed, upper capital with small missing part, partly with small wormholes). - Partly somewhat browned and lightly spotted, at the upper margin partly with a narrow margin of moisture, few notes in an old hand, leaf a2 somewhat browned and spotted, with ownership notes and small wormhole in the outer margin (a3 still slightly affected), inside cover with old writing, 1 leaf with corner tear (outside the text). From leaf B2 onwards, 10 fol. with decreasing burn hole in right outer margin with loss of text, leaf B2 larger (c. 11 x 1.5 CM), the remaining 9 fol. with c. 1.5 x 4 cm burn hole (decreasing).
Badeslade (Thomas & William Henry Toms). Chorographia Britanniae. or A New Set of Maps of all the Counties in England and Wales, London, circa 1743, engraved double-page title, with the left-hand side laid on card, dedication with manuscript cancelled signature, 4 general maps of England & Wales and 3 sets of tables, 42 engraved maps, each with the county capital heightened in near-contemporary red watercolour, each map with a manuscript title to the verso and an additional four tables bound at rear, the map of Leicestershire creased and a little frayed, hinges and joints weak and cracked, later endpapers, 19th-century half morocco, worn and frayed, 8voQTY: (1)NOTE:Chubb CLXXIV.
A marble urn shaped lamp base, 19th century, with reeded neck and rope twist to the shoulder, the body with swags of drapery and panelled lower half, atop a socle with acanthus leaf capital and rope twist base, to a stepped square base, converted for electricity, 44cm high excluding electrical fittings, together with a slender granite urn shaped lamp base, with waisted neck and panelled lower third, with two applied ring handles to the body, atop a socle and bevelled square base, converted for electricity, 53.5cm high excluding electrical fittings (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for useEach lamp in overall good condition with surface marks and dirt consistent with age.
XAVIER GOSÉ (Alcalá de Henares, 1876 - Lleida, 1915)."La barraca escola".Ink and chalk on paper.With an information label on the back of the Artur Ramon Gallery (Barcelona).Signed in the lower right-hand corner.Size: 18 x 18 cm; 31 x 31 cm (frame).Xavier Gosé has several works dedicated to the idea of the barraca, this type of building associated with the farmers, is presented in this case as a school, populated by young people who enjoy themselves happily in their free time. The architecture, the landscape and the costumes of the characters show us an everyday scene, a summary of 19th-century life, with an aesthetic close to Catalan noucentisme. This is visible not only through the characters, already mentioned, but also in the way the landscape is conceived, where we can appreciate the dominance of a sinuous line, tending towards curved and fluid finishes.Gosé was a voyeur of human passions and his work constitutes a documentary archive of bourgeois society at the beginning of the 20th century. Francisco Javier Gosé was an essential draughtsman and painter in the world of graphics and fashion in the transition from the 19th to the 20th century. He studied in Barcelona, where he was assistant to the draughtsman José Luis Pellicer. From a very early age he collaborated in Barcelona publications, from "La Esquella de la Torratxa" and "La saeta", in which his attachment to modernism is evident, to "Mundial Magazine" and "Fémina", where a pre-cubist line can already be seen. His first exhibition was held at Els Quatre Gats. During his Barcelona period he portrayed the proletariat, although in 1900 he travelled to Paris, where he collaborated with "La vie Illustrée" and "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Up to this point his works showed a satirical and realistic view of the bourgeoisie, snobs and prostitutes, although this view changed in 1907, when he began a more stylised, less realistic and less ironic period, above all because of his entry into the world of fashion, in which Gosé sought to set a trend among women in society. His period in Paris was the turning point in his life and artistic production, as the French capital was the place where he broadened his knowledge, becoming a successful artist who would obtain interesting commissions as an illustrator in the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance which, together with serious health problems, deprived him of the elegant Parisian environment, and he moved to the city of Vichy, famous for its spas. Shortly afterwards Gosé moved back to Barcelona, spending the last days of his life in Lleida. His posthumous exhibitions include the one at the Círculo Artístico in the same year as his death, the retrospective at the Rovira gallery (1970) and the one at the Fundación La Caixa (1984). He is represented in the Museums of Modern Art in Barcelona and Madrid, among others. Javier Gosé's style oscillates between modernism and French art-deco, reflecting the life of Parisian society. Inspired by the worldly life of the café-concerts, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of French society at the time, although it is not without a certain mischievousness characteristic of carefree Paris.
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Hermitage of Sant Medir".Pastel on paper.Signed in the lower left-hand corner.Measurements: 62.6 x 41.2 cm; 81 x 64 cm (frame).The agile brushstroke used by Mir in his oil paintings was also immortalised in his pastels, as in this landscape with the hermitage and mansion fused with a wild and poetic environment. Joaquín Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893 he formed the "Colla del Safrà" together with artists such as Isidro Nonell, Ricard Canals and Ramon Pichot, and in the last years of the century he was associated with the artistic environment of "Els Quatre Gats". He completed his training in 1895, when he spent some time in Madrid copying works by Velázquez. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, particularly that of Sa Calobra, which was an inexhaustible source of inspiration for him. In 1901 he held a solo exhibition of the fruit of this first Mallorcan period at the Sala Parés in Barcelona, and once again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.
RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894)."Female nude".Oil on canvas. Relined.Signed in the lower left corner.Period frame, with some faults in the stucco and polychromy.Measurements: 175 x 80 cm; 213 x 118 cm (frame).Seated on cushions upholstered in silk and trimmings, a woman of cimbreantes hips and turgid flesh tones acquires a sculptural presence, being outlined in front of a dark bottom. She adopts a modest gesture that accentuates her attractiveness. She tilts her head to one side and her black eyes give off a melancholic glow. The nude seems to be based on baroque models, but Martí Alsina counterbalances the carnal charge with an intimate, modern touch. The silky qualities of the hair, the luminous modelling of the forms, the soft cushions, etc. bear the mark of a master.Considered today as the most important figure of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His themes include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.
FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Málaga, 1990)."Still life with characters", 1953.Oil on canvas.Signed and dated in the lower left corner.Measurements: 150 x 170 cm; 170 x 190 cm (frame).Son of the painter Ribera Blázquez, he trained at the San Fernando Academy. In the thirties he worked as a poster painter, and during the Civil War he worked as an advertising draughtsman. In 1945 he obtained the chair of Drawing from Life at Rest at the Barcelona School of Fine Arts, of which he would eventually become director between 1964 and 1972. In 1946 he was made an Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes in Madrid, after winning the Ministry of National Education Prize at the Salón de Otoño in the capital. A member of the Academy of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville from 1971. He won several prizes in national competitions, notably the gold medal at the National Exhibition in Madrid in 1950, and international ones, being awarded gold medals at the Brussels (1965) and Paris (1968) Exhibitions.
A GROUP OF VARIOUS MODERN GARDEN ORNAMENTS To include a fibreglass imitation 'terracotta' urn with ram's-head decoration, 80cm high, 94cm wide, a fibreglass imitation lead 'George and Dragon' planter or cistern, dated 1995, 65cm high, 95cm wide, 46cm deep, and a fibreglass urn and stand in the manner of the Medici vase, 150cm high overallProvenance: Private Collection, Oxfordshire, previously purchased from Capital Garden Products Ltd, Ticehurst, E. Sussex in 1995
Flemish school of 1620-1630. Workshop of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Self-portrait.Oil on canvas. Relined.With repainting.The frame shows slight lack of polychromy.Size: 75 x 57 cm; 103 x 85 cm (frame).Excellent painting of Flemish school, belonging to the workshop of Rubens, in which we recognise the self-portrait of the baroque genius. It is a work of great artistic quality, which faithfully follows the original model produced by Rubens around 1618, now in the collection of self-portraits in the Uffizi Gallery in Florence. The one in the Uffizi collection shows Rubens at the age of about 41, when he was still living in Antwerp. The artist depicts himself bust-length, with a stern gaze fixed on the viewer, with no other symbols of his rank than the dignity of his face. In the present work, which belongs to the workshop of the Baroque genius, we can appreciate the energy and direct teaching of the master: both the figure and the background share shadows and lights, the spotlight sliding across the flushed complexion and the dark eyes, playing with thousands of nuances that extract velvety textures and naturally capture the boldness of the gallant countenance. As for Rubens's workshop, it is worth noting that the prolific artist could not have tackled the abundant creative fecundity of his work alone. He employed expert collaborators and enlisted the help of external painters, who helped to satisfy the fertile demand for commissions.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral.
Ca. 600 AD.A gold finger ring of a flat-section hoop with wide, supportive shoulders. The bezel is set with an amethyst intaglio engraved with Chi-Rho, one of the earliest forms of Christogram, formed by superimposing the first two (capital) letters — chi and rho (??) of the Greek word ??????? (Christos) in such a way that the vertical stroke of the rho intersects the center of the chi. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.5mm / US: 6 / UK: M; 8g.Provenance: Private UK collection; From an old Oxford collection formed in the 1990s; Ex. Swiss private collection.
Henry Moret 1856 Cherbourg - 1913 Paris La baie de Merrien. 1900. Öl auf Leinwand. Links unten signiert und datiert. Verso auf dem Keilrahmen handschriftlich betitelt sowie verschiedentlich nummeriert, mit altem nummeriertem, beitelten und bezeichnetem Etikett sowie typografisch nummeriertem Etikett '889.'. 50,5 x 61,5 cm (19,8 x 24,2 in). • Leuchtende, von avantgardistischen Prinzipien des Neoimpressionismus beeinflusste Küstenlandschaft • Moret vebringt ab 1880 den Sommer in der Bretagne und schließt sich Gauguin und der Schule von Pont-Aven an • Der bedeutende Galerist der Impressionisten, Paul Durand-Ruel schließt mit ihm einen Exklusivvertrag • Bretonische Landschaften Morets befinden sich in bedeutenden internationalen Sammlungen, u.a. in der Eremitage, Sankt Petersburg, dem Boston Museum of Art, der National Gallery, Washington sowie dem Musée d'Orsay, Paris. Mit einer schriftlichen Bestätigung von Herrn Jean-Yves Rolland, Paris, November 2022. Das Werk wird in den in Bearbeitung befindlichen Catalogue raisonné Henri Moret aufgenommen. PROVENIENZ: Galerie für Alte und Neue Kunst Alexander Gebhardt, München. Privatsammlung Baden-Württemberg (1973 vom Vorgenannten erworben). Gegen Ende des 19. Jahrhunderts rückt die Bretagne als abgelegener, urwüchsiger und wildromantischer Landstrich in das Motivrepertoire derjenigen Künstler, die sich abseits des akademischen Salonbetriebs positionieren. Neben den klassischen Landschaftsmotiven bieten sich hier neue, bisher unentdeckte Ansichten rauher, unmittelbarer Natur und atmosphärische Licht- und Wetterstimmungen, hinzu kommen die oft niedrigen Lebenshaltungskosten im Vergleich zur Metropole Paris. Bekanntheit erlangt der abgelegene Landstrich in avantgardistischen Kreisen durch Paul Gauguin, der sich hier ab 1886 im kleinen Fischerdorf Pont-Aven aufhält. Moret hatte bereits zuvor in der Bretagne seinen Militärdienst geleistet und anschließend an der Pariser Akademie in den Ateliers der bedeutenden Salonmaler im historischen Genre Jean-Léon Gérôme und Jean-Paul Laurens studiert. 1880 wird ein erstes Landschaftsgemälde mit bretonischem Küstenmotiv im Salon des artistes français angenommen. Er kehrt im foglenden Jahr in die Bretagne zurück und bezieht Quartier in Le Pouldu, um sich fortan fast ausschließlich dieser Region zu widmen. Als Gauguin 1888 mit einigen Schülern den Sommer in Pont-Aven verbringt, schließt er sich ihnen an, lässt sich allerdings schließlich ab 1894 für Malaufenthalte dauerthaft in Doëlan nieder, während andere nach Paris zurückkehren. Ein fester Vertrag mit dem bedeutendsten Galeristen der Impressionisten, Paul Durand-Ruel verleiht ihm berufliche Stabilität. So entsteht ein in sich geschlossenes und zugleich in seinem koloristischen Ausdruck prismatisch leuchtendes Werk mit Themen wie den auch von Gauguin in den Blick genommenen Tang sammelnden Bretoninnen, Fischerbooten und schroffen Klippen mit Blick auf die Wildheit und Weite des Atlantiks. Malerisch erschließt er die Region Finistère am Ende des Landes, und wählt Motive über Moëlan, Pont-Aven, Belon, Brigneau und Ouessant. Ganz der impressionstischen Lockerheit in der Faktur sowie in Ansätzen der neoimpressionistischen Farbzergliederung verpflichtet, sind Morets bretonische Küstenlandschaften von einer eindrucksvollen Intensität, mit der er auf besondere Weise den Charakter dieser einzigartigen Region einfängt. [KT] Aufrufzeit: 10.12.2022 - ca. 15.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHenry Moret 1856 Cherbourg - 1913 Paris La baie de Merrien. 1900. Oil on canvas. Lower left signed and dated. Verso of the stretcher with title and several numbers, with an old numbered, titled and inscribed label and a label numbered '889.' in typography. 50.5 x 61.5 cm (19.8 x 24.2 in). • Luminous coastal landscape influenced by avant-garde principles of Neo-Impressionism • Moret spent the summers from 1880 in Brittany and joined Gauguin and the Pont-Aven School • The important gallery owner of Impressionism, Paul Durand-Ruel concluded an exclusive contract with him • Moret's Breton landscapes are in major international collections, including the Hermitage, Saint Petersburg, the Boston Museum of Art, the National Gallery, Washington and the Musée d'Orsay, Paris. Accompanied by a confirmation of authenticity from Mr Jean-Yves Rolland, Paris. The work will be included into the forthcoming catalogue raisonné Henri Moret. PROVENANCE: Galerie für Alte und Neue Kunst Alexander Gebhardt, Munich. Private collection Baden-Württemberg (acquired from the above in 1973). Towards the end of the 19th century, the remote, unspoiled and wildly romantic region of Brittany became part of the motif repertoire of artists who sought to distance themselves from the academic Salon scene. Aside from classic landscape motifs, the region offered new, hitherto unexplored views of rugged, unspoiled nature along with ambient light and weather, not to mention the generally lower cost of living compared to the capital, Paris. Having moved to the small fishing village of Pont-Aven in 1886, it was Paul Gauguin who brought this secluded region to the attention of the avant-garde circles. Prior to this, Moret had completed his military service in Brittany and gone on to study at the Paris Academy and the studios of the eminent historical Salon painters Jean-Léon Gérôme and Jean-Paul Laurens. The Salon des Artistes Français accepted his first landscape painting with a Breton coastal motif in 1880. Upon his return to Brittany in the following year, Moret settled in Le Pouldu and devoted himself almost exclusively to this region. When Gauguin and some of his students spent the summer in Pont-Aven in 1888, he joined the group. In 1894, he settled permanently in Doëlan to devote his time to painting, while others returned to Paris. A permanent contract with the leading Impressionist gallery owner, Paul Durand-Ruel, provided Moret with financial security. The resulting work is both self-contained and prismatically luminous in its color expression. His subjects include Breton women gathering seaweed, fishing boats and rugged cliffs overlooking the wildness and expanse of the Atlantic Ocean, motifs that Gauguin also tackled. Moret’s paintings often explore the Finistère region at the far edge of the country, focusing on motifs from Moëlan and Pont-Aven to Belon, Brigneau and Ouessant. Indebted to an Impressionist lightness of texture and the beginnings of Neo-Impressionist color fragmentation, Moret’s Breton coastal landscapes are of an arresting intensity, capturing the character of this singular region with a unique skill. Thanks to Durand-Ruel, Moret’s works were included in prestigious collections, among them the Hermitage, St. Petersburg, the Boston Museum of Art, the National Gallery, Washington, and the Musée d’Orsay, Paris. [KT] Called up: December 10, 2022 - ca. 15.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
'THE MING TOMBS', QING DYNASTY 清代明皇陵風水圖China, 1644-1912. Ink and watercolors on paper. Portraying a broad landscape view of the shrines set in a mountainous river landscape, the foreground with a path divided by gateways and lined with pottery figures and mythical beasts, each shrine with an identifying inscription.Provenance: From the collection of Naima Rutgersson (1922-2020), Stockholm, Sweden, and thence by descent.Condition: Overall in fair condition and presenting very well. Old wear, minor creasing, soiling, staining. Some tears, losses and touchups mostly to edges. Laid down on board. With a European wood frame.Dimensions: Image size 232 x 76 cmThe Ming tombs are a collection of mausoleums built by the emperors of the Ming dynasty of China. The first Ming emperor's tomb is located near his capital Nanjing. However, the majority of the Ming tombs are located in a cluster near Beijing and collectively known as the Thirteen Tombs of the Ming dynasty. They are located within the suburban Changping District of Beijing Municipality, 42 kilometers north-northwest of Beijing's city center. The site, on the southern slope of Tianshou Mountain (originally Huangtu Mountain), was chosen based on the principles of feng shui by the third Ming emperor, the Yongle Emperor. After the construction of the Imperial Palace (Forbidden City) in 1420, the Yongle Emperor selected his burial site and created his own mausoleum. The subsequent emperors placed their tombs in the same valley.Literature comparison: Compare a related painting depicting the Ming tombs, 119.4 x 251.5 cm, at Christie's London, 25 June 1998, lot 293. Compare a related painting depicting the Ming tombs, dated after 1736, in the Library of Congress, inventory number G7822.M5A35.清代明皇陵風水圖中國，1644-1912年，紙本設色，描繪了坐落在山間河流景觀中的皇陵風水圖，小路延伸，兩側可見陶俑和神獸，四周山嶺分別每個神社都刻有識別銘文。來源：瑞典斯德哥爾摩Naima Rutgersson (1922-2020) 私人收藏，保存至今。品相：總體狀況良好，舊時磨損、輕微摺痕、汙漬、染色。一些水跡，主要在邊緣有些缺失和修補。採用歐式木框架。尺寸：畫面232 x 76 釐米
A RARE GUAN-TYPE VASE, HU, QIANLONG MARK AND PERIOD 乾隆款及年代仿官釉雙耳壺China, 1736-1795. The ovoid body supported on a thick spreading foot and tapering to a waisted flared neck, set to either side with a lion-head-form loop handle over a molded mock ring handle at the shoulder, applied overall in a thick bluish-gray glaze suffused with a bold network of steel gray and pale gold crackles stopping at the unglazed foot ring dressed in a dark brown wash in imitation of Song dynasty guan ware. The recessed base with an underglaze-blue six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Swiss trade. Condition: Fine condition overall with wear and firing irregularities, shallow surface scratches, the rim with a small chip and associated minor old repair. Please request further detail images as well as a video, shot under strong blue light, for accurate documentation of the condition of the present lot.Weight: 6,002 gDimensions: Height 37 cmThe crisply molded lion-form loop handles on the present piece are striking, varying from the usual shallow applied lion-mask handles with pendent rings or the rarer elephant-head loop handles. The bold feature is a charming 18th-century innovation on a vase that in both form and glaze references two well-known early accomplishments of Chinese art: the iconic hu form derived from the great bronzes of the Shang dynasty and the rich crackled glaze of the famed Guan wares of the Southern Song dynasty. The official or Guan ware was produced for the court in the capital, Hangzhou, in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. The present piece with its two tones references the jinsi tiexian (gold thread and iron wire).Such a pointed allusion to the past served to both pay homage to the past while simultaneously noting the technical achievements of the present. Archaism enjoyed a major revival during the height of the Qing dynasty under the Yongzheng and Qianlong emperors. The combination of a precious glaze and ancient form suggests a deep appreciation and respect for the past, together with the want for its preservation.Auction result comparison: Type: Near-identical Auction: Sotheby's New York, 17 March 2015, lot 287 Price: USD 87,500 or approx. EUR 107,500 converted and adjusted for inflation at the time of writing Description: A rare Guan-type vase, Hu, Qianlong seal mark and period Expert remark: Compare the identical form, two-tone crackled glaze, and extremely rare lion-form loop handles. Note the smaller size (30 cm).乾隆款及年代仿官釉雙耳壺中國，1736-1795年。仿漢壺尊形制，鼓腹，外撇圈足。頸部兩側有獅首耳，通體及足內均施仿官釉，釉面開片紋。胎體優美，造型素雅，猶可辨趙宋遺韻。圈足内六字篆書款“大清乾隆年製”。 來源：瑞士古玩交易。 品相：整體狀況良好，磨損和燒製不規則，表面淺劃痕，邊緣有小磕損和相應小修。請聯繫部門詢問更多細節圖片以及在強藍光下拍攝的視頻，以準確查看當前拍品的狀況。 重量：6,002 克 尺寸：高37 厘米 這件作品上造型清晰的獅首耳特別引人注目，與通常帶有活環的獅首或較罕見的象首耳不同。此器的造型、釉色都極似宋代的作品，是仿古之作。清雍正時期對宋代五大名窯的仿製取得了空前的成就，摹古水平極高。此時所仿製的宋代官窯釉面或有冰裂紋或無片紋，其紋呈白色或鐵色。胎色黑，頗能體現宋代官窯 “紫口鐵足”的特色，在清代文獻中被稱為“鐵骨大觀”。拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2015年3月17日，lot 287 價格：USD 87,500（相當於今日EUR 107,500） 描述：清乾隆官式瑞獸耳壺 《大清乾隆年製》款 專家評論：比較幾乎相同的外型、雙色調的釉面開片，以及罕見的獅首耳。請注意尺寸較小 (30 厘米)。
A late 18th century mahogany-cased eight-day longcase clock: the twelve-inch painted dial with moon phase, Latin legend 'Sic est vita hominis', Roman numerals, subsidiary seconds-hand and signed 'A Crawford, Whitby' and cornered by spandrels as painted roses. The dial flanked by a pair of Corinthian columns with brass acanthus capitals. The main trunk with dentil cornice, shaped figured mahogany door and raised on short bracket feet. Together with weights, pendulum, key and some small pieces of wood now away. (207 cm high)Condition Report: It appears to a 'marriage' and the movement is not originally attached to the case. It has two splits to the right-hand side (looking from the front) on the wood above and below the glass. The dial has crazing to the paint surface, the top of the right-hand acanthus capital there is some wood away and some damage to the open fretwork, the figured door is nicely coloured and flat. There are pieces of wood away to the decorative arches at the top and the left-hand side. The right-hand returned dentil moulding is away. Two inch veneer away from the lower base section. Some restoration required.
SPRINGBANK 21 YEAR OLD JOHN MITCHELLSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.This in an older style 21 Year Old from the 1990s.46% ABV / 70clFill level in low neck.
SPRINGBANK 1993 22 YEAR OLD HART BROTHERSSingle malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: November 1993Bottled: June 201650.7% ABV / 70clFill level in mid neck.
SPRINGBANK 1966 LOCAL BARLEY CASK #492Single malt.There are very few distilleries left in Scotland that have the capacity to carry out 100% of the whisky making process onsite, but Springbank can make that claim. Situated in Campbeltown (the former whisky capital of the world) the distillery produces three distinct styles of single malt: lightly peated Springbank, heavily peated Longrow, and triple distilled, unpeated Hazelburn.Despite being a relatively small distillery, Springbank has cultivated a global cult following, with older expressions such as their legendary Local Barley series commanding eye-watering sums at auction.Distilled: February 1966Bottled: April 1998Matured in Bourbon cask #49255.1% ABV / 70clFill level at bottom of neck / top of shoulder.Please see additional photos.
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