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Click here to subscribeA 17th Century style carved oak Court Cupboard, with moulded cornice above a central door carved with figures representing the seasons around a shaped cartouche panel flanked with two carved pilasters each with ribbon bows scrolling foliage and a centre cherub each headed with a carved capital and a male mask on an inverted breakfront rectangular base with drawer and animal head handle, raised on large bun feet, 181cms x 111cms (71 1/2" x 43 1/2"). (1)
A late 18th / early 19th Century Girandole giltwood Mirror, the capital with circular mirror and shelf over large central and bevelled mirror, each corner with floral painted milk glass panels each side issuing two branch candelabra terminating with ornate shelf base, approx. 135cms high x 66cms wide (53" x 26"). (1)
A fine quality Renaissance style ormolu and champlevé enamel Clock, by Japy Freres, raised on stepped plinth with champlevé enamels, with turned pillars supported by winged cherubs flanking the arched central panel with circular dial and Roman numerals, the top with pointed finials and dome like capital with cherub seated on edge to front, approx. 54cms high x 28cms w (21" x 11"). (1)
A limed hardwood capital, 20th century, Indian, in the Corinthian style with carved foliate decoration, 75cm wide75cm deep64cm highPreviously polychrome painted. Splits, knocks and small losses. General surface wear. Constructed from a few pieces of timber rather than a monolith. Previously used as a low table base.
Mel Crawford (Canadian, B. 1925) "Thailand" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.N. 20c Thailand Flags of the U.N. Series stamp issued September 25, 1981. Today's visitor to Thailand is immediately struck by the harmonious relationship between the old ways and the new. From modern airports and deluxe hotels to royal ceremonies, colorful Buddhist temples, and age-old canal marketplaces, Thailand seems to span centuries of history within her borders. Although Western dress has become more and more fashionable in the cities, the countryside has changed little over the years, and the ruins of the ancient Thai capital, Ayuthia, seem scarcely out of place. Thailand's modernization has been relatively smooth because traditional social standards, religious values, and the ancient, India-derived conception of governmental authority have remained unchanged. Thus, this southeast Asian country has managed to enjoy considerable economic prosperity, yet retain its distinctive cultural flavor. The economy of Thailand is still closely tied to the ownership of land, and the country produces a tremendous variety of savory fruits, such as mangoes, bananas, pineapples, litchis, and mangosteens. Visitors to the country's magnificent and valuable teakwood forests might very well see elephants being used to haul huge logs, just as they have done for centuries. And it would not be at all unusual to encounter a mammoth statue of Buddha, or a yellow-robed monk, for the industrious Thais continue to practice the Buddhist religion of their ancient ancestors. Image Size: 14 x 12.25 in. Overall Size: 17.5 x 15 in. Unframed. (B07176)
ARTIST: Anthonij Rudolf Mauve (Netherlands, 1838 - 1888)NAME: Beach Scene with Fishing BoatMEDIUM: oil on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 7 x 8 inches / 17 x 20 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120882US Shipping $29 + insurance.BIOGRAPHY:Anthonij (Anton) Rudolf Mauve was a Dutch realist painter who was a leading member of the Hague School. He signed his paintings 'A. Mauve' or with a monogrammed 'A.M.'. He was a very significant early influence on his cousin-in-law Vincent van Gogh.Most of Mauve's work depicts people and animals in outdoor settings. In his Morning Ride in the Rijksmuseum, for example, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail, horse droppings in the foreground, attests his commitment to realism. His best known paintings depict peasants working in the fields and especially sheep herding scenes. His paintings of flocks of sheep were especially popular with American patrons.Anton Mauve was born on 18 September 1838 in Zaandam, a town in the Dutch province of North Holland. A year after his birth his father, a Mennonite chaplain, was sent to Haarlem, the capital city of the province, where Mauve grew up.He was apprenticed to the painter Pieter Frederik van Os followed by Wouter Verschuur. In his further development, he worked with Paul Gabriel, painting from nature, and they regularly stayed and worked together at Oosterbeek, a village in the Dutch province of Gelderland.In 1872 Mauve settled in The Hague where he became a leading member of the Hague School of painters inspired by the French Barbizon School in turn by the work of John Constable.In the last two years of his life Mauve settled in the village of Laren in the region surrounding Hilversum called het Gooi. The group of painters who settled there, including Jozef Israels and Albert Neuhuys, came to be known collectively as the Larense School and the region around het Gooi was dubbed 'Mauve land' as far afield as the United States.Mauve died suddenly in Arnhem on 5 February 1888.Mauve was married to Vincent Van Gogh's cousin Ariette (Jet) Sophia Jeannette Carbentus and was a major influence on Van Gogh. He is mentioned directly in 152 of Vincent's surviving letters.Vincent spent three weeks at Mauve's studio at the end of 1881, and during that time he made his first experiments in painting under Mauve's tutelage, first in oils and then early the next year in watercolour (previously he had concentrated on drawing). Mauve continued to encourage him and lent him money to rent and furnish a studio but later grew cold towards him and did not return a number of letters.
Original vintage travel poster for Zoo Baneasa 'dialog la' / 'the dialogue', featuring an illustration of a little girl climbing the fence and a lioness with a cub looking at her. Zoo Baneasa is a zoo in Bucharest, Romania, located in a northern district of the city, called Baneasa. The park was founded in 1955 as a service of the Municipal Household Section of the People's Council of the Capital. Poor condition, folds, several paper losses on edges, several repaired tears. Country of issue: Romania, designer: Ioan Nicolau, size (cm): 67x47, year of printing: 1950s.
Original vintage Art Deco design poster advertising the VI Official and National Trade Fair / VI Feria Oficial y Nacional D Muestras - that took place in Zaragoza October 1946 - Design features a statue of a man wearing a wreath headpiece and being encircled by a Spanish flag. The location is picture below alongside a globe. Zaragoza, also known in English as Saragossa, is the capital city of the Zaragoza Province and of the autonomous community of Aragon, Spain. The city is famous for its folklore, local cuisine, and landmarks such as the Basilica del Pilar, La Seo Cathedral and the Aljaferia Palace. Together with La Seo and the Aljaferia, several other buildings form part of the Mudejar Architecture of Aragon which is a UNESCO World Heritage Site. The Fiestas del Pilar are among the most celebrated festivals in Spain. Fair condition, folds, foxing, creasing, small paper losses, staining. Country of issue: Spain, designer: Guillermo, size (cm): 99x62, year of printing: 1946.
A Pair of Victorian Silver Candlesticks by Martin Hall and Co., London, 1892, each on square base with foliage border, further stamped with ram's masks suspending husk swags, the fluted columns terminate in a Corinthian capital, filled, nozzles lacking, 18.4cm high (2)Both lacking nozzles, some silver solder repairs, mainly at the capitals, minor dents and wear
A George V Silver Candlestick, by Hawksworth, Eyre and Co Ltd., Sheffield, 1919, on square gadrooned base, the fluted stem terminates in a Corinthian capital, later fitted for electricity, filled, 41cm high including later fittingsConverted to electricity with a drill hole to the side of the foot and minor dents and wear
CHINESE CARVED STONE STELE,believed to be Ming dynasty (1368-1644) and from Dali City, Yunnan Province, featuring Sanskrit inscription and central robed figure, possibly the Buddha, above a pig, goat, rabbit and ox referring to the Chinese Zodiac, 64.5cm highFootnote: Dali City has been the site of contrasting cultural influences, being first the capital of the Bai and Dali Kingdoms before being razed during the Yuan invasion with its current layout inherited from reorganisation done under the Ming Emperor Hongwu; the city and surrounding area later saw increased Muslim influence; this stele, featuring broad influences, is perhaps a reflection of Dali City having been a crucible of conflicting cultures over the centuries.
dating: First half of the 20th Century provenance: Italy, Blade ribbed at the center and with a central segment with fuller. Remains of antique bluing on the first half of the surface and with small gilded engravings featuring trophies. Tang marked 'F. HORSTER SOINGEN' and 'G. CESATI E Fi. MILANO-ROMA'. Gilded-brass hilt, quillon with forked quillons, curved downwards. Hilt decorated with intertwined bands and with silver-colored Maltese Cross on the front side. Capital-shaped pommel with relieved acanthus leaves. Large, rear button with engraved heraldic shield. length 89 cm.
Andreu Gamboa-Rothvoss (Sabadell, 1910 - Barcelona, 1970)"Mujer de pie" (Standing woman)Watercolour, oil and pencil on paper. Signed and dated 1928. 20,5 x 12,3 cm. According to the "Diccionario de las Vanguardias en España (1907 – 1936)" (Dictionary of the Avant-Gardistes of Spain) (1995), by Juan Manuel Bonet, Andrés Gamboa-Rothvoss, pseudonym of Andrés Gamboa González-Rothwoss, was a painter, illustrator and caricaturist, born in Sabadell and a disciple of Joan Vila Cinca. He studied in Paris with André Lhote and is remembered for participating in the "Exposicion Logicofobista" in Barcelona. He was quoted in "Profil de sombras" (1994) by Juan Ramón Masoliver. In 2017, the Museu d'Art de Sabadell held an important exhibition dedicated to the painter, "Logicofobistes 1936. El surrealisme com a revolució de l'esperit. Andreu Gamboa-Rothvoss, recuperant un logicofobista de Sabadell" (Logicophobists 1936. Surrealism with a revolution of the spirit. Andreu Gamboa-Rothvoss, reviving a logicophobist from Sabadell", from February 16 to 23 April 2017. The curator of the exhibition, the art critic Josep Miquel Garcia, states in an article for the exhibition that Gamboa-Rothvoss is, “the most unprecedented and enigmatic figure of all the logicophobists”.The painter, as we said, continued his training in Paris, where today, as Garcia tells us, his life drawings are kept at the Académie Grande Chaumière. His stay in the French capital, which lasted until at least 1934, greatly influenced him. In fact, it could be that this “Standing woman”, dated 1928, was created in France. We can clearly see the influence of the modernity of Paris in the 1920s and its avant-gardistes, as well as Picasso's blue period in the work that we present here.Continuing with his biography, according to Garcia, once he arrived in Barcelona, he embraced the activities of the group “Amics de l'Art Nou (ADLAN)”, a Catalan artistic movement founded in Barcelona in 1932 by Carles Sindreu, Joan Prats and Josep Lluís Sert in order to champion avant-garde art. In Barcelona he held the only known art exhibition at Syra galleries in 1933. To announce it, La Vanguardia published the following on January 6, 1933: "The artist Gamboa Rothvoss, a long-term resident in Paris, will open an exhibition of paintings at Syra Galleries tomorrow," as Josep Playà indicates in the article "Another surrealist painter rediscovered” (2017).Until his return to Barcelona, "his painting followed post-impressionist guidelines, with works marked by a linear structuring of figures, but as he entered more deeply into surrealism he created dreamlike images with collage, well-drawn, outlined figures, and always with gestural backgrounds,” Josep Miquel Garcia explains.Later, in 1958, he moved to Ibiza alone after separating from his former wife, Núria Garreta Socias, with whom he had two children. There, in the “fishermen's quarter”, Garcia tells us that he “actively participated in the cultural life of the island” and developed a style that, without being abstract, accentuates expressiveness and outline. Finally, he moved to Majorca until 1969, when he had to return to Barcelona to be admitted to the Hospital Clínic, where he died in 1970.Having reviewed the biography of Gamboa-Rothvoss, we can conclude that our Standing woman is from the stage when his artistic personality was forming, from a moment of transition in which the seed of the surrealist Rothvoss had been planted and would end up being developed in his Barcelona stage and even in the most abstract and solitary work from the Balearic Islands. Bibliographic references:- Bonet, J. M. (1995). “Diccionario de las Vanguardias en España (1907-1936)”. Page 267. Alianza Editorial.- Enciclopèdia.cat. (s. f.). “Amics de l’Art Nou”. Collected on 19th May 2022, from https://www.enciclopedia.cat/gran-enciclopedia-catalana/amics-de-lart-nou- Garcia, J. M. (2017). “Andreu Gamboa Rothvoss. Recuperant un logicofobista de Sabadell”. Arraona. No. 36, pp. 192-195.- Playà, J. (19th February 2017). “Otro pintor surrealista redescubierto”. La Vanguardia. Https://www.lavanguardia.com/cultura/20170219/42144105526/otro-pintor-surrealista-redescubierto.html
Calavera' (Skull), publication for the Día de Muertos (Day of the Dead). Engraving on paper. Mexico. Dated 1905. "La Tronante Calavera de las Campanas Modernas" (The thundering skull of the modern bells) 40 x 29,5 cm. An engraving printed on both sides by the A. Vanegas Arroyo printing press, in Mexico, 1905. It includes a large illustration and facsímile signature by José Guadalupe Posada (Aguascalientes, Mexico, 1852 – Mexico City, 1913). This engraving was part of a collection of works of just over 70 loose sheets published by the Antonio Vanegas Arroyo Printing Press (Puebla, 1852 - Mexico City, 1917) between 1880 and 1920, according to Nina Hasegawa (2017), in her study for the Faculty of Foreign Studies at Sophia University (in Tokyo, Japan). Hasegawa explains that such prints, known as 'calaveras' (skulls), were produced and sold for general consumption only during the popular Mexican festival of the Day of the Dead. According to the professor, "they have existed since the dawn of Independence and […] the first to produce and sell them in Mexico City was Fernández de Lizardi (1776-1827)", with 'calaveras' without illustrations and with texts in prose, although "the most famous are those produced and sold by the Vanegas Arroyo Press since 1880", from among which our print came. Posada was, together with his teacher Manuel Manilla (Mexico, c. 1830 - 1895), the main illustrator working for Vanegas Arroyo. Manilla had been his trusted illustrator until Posada arrived in the Mexican capital in 1888, the year of the editorial’s first 'calavera'. His famous "Calavera Catrina" stands out among his multiple illustrations. Bibliographic reference: - Hasegawa, N. (2017). "Las 'Calaveras' de Vanegas Arroyo". Bulletin of the Faculty of Foreign Studies, Sophia University, No.52. https://dept.sophia.ac.jp/fs/_fstest/wp-content/uploads/2018/04/05Nina-HASEGAWA.pdf
Andreu Gamboa-Rothvoss (Sabadell, 1910 - Barcelona, 1970)"Mujer azul" (Blue woman)Watercolour and ink on paper. Signed and dated 1928. 24,5 x 12,7 cm.According to the "Diccionario de las Vanguardias en España (1907 – 1936)" (Dictionary of the Avant-Gardistes of Spain) (1995), by Juan Manuel Bonet, Andrés Gamboa-Rothvoss, pseudonym of Andrés Gamboa González-Rothvoss, was a painter, illustrator and caricaturist, born in Sabadell and a disciple of Joan Vila Cinca. He studied in Paris with André Lhote and is remembered for participating in the "Exposicion Logicofobista" in Barcelona. He was quoted in "Profil de sombras" (1994) by Juan Ramón Masoliver. In 2017, the Museu d'Art de Sabadell held an important exhibition dedicated to the painter, "Logicofobistes 1936. El surrealisme com a revolució de l'esperit. Andreu Gamboa-Rothvoss, recuperant un logicofobista de Sabadell" (Logicophobists 1936. Surrealism with a revolution of the spirit. Andreu Gamboa-Rothvoss, reviving a logicophobist from Sabadell", from February 16 to 23 April 2017. The curator of the exhibition, the art critic Josep Miquel Garcia, states in an article for the exhibition that Gamboa-Rothvoss is, “the most unprecedented and enigmatic figure of all the logicophobists.”The painter, as we said, continued his training in Paris, where today, as Garcia tells us, his life drawings are kept at the Académie Grande Chaumière. His stay in the French capital, which lasted until at least 1934, greatly influenced him. In fact, it could be that this “Blue woman”, dated 1928, was created in France. We can clearly see the influence of the modernity of Paris in the 1920s and its avant-gardistes, as well as Picasso's blue period in the work that we present.Continuing with his biography, according to Garcia, once he arrived in Barcelona, he embraced the activities of the group “Amics de l'Art Nou (ADLAN)”, a Catalan artistic movement founded in Barcelona in 1932 by Carles Sindreu, Joan Prats and Josep Lluís Sert in order to champion avant-garde art. In Barcelona he held the only known art exhibition at Syra galleries in 1933. To announce it, La Vanguardia published the following on January 6, 1933: "The artist Gamboa Rothvoss, a long-term resident in Paris, will open an exhibition of paintings at Syra Galleries tomorrow," as Josep Playà indicates in the article "Another surrealist painter rediscovered” (2017).Until his return to Barcelona, "his painting followed post-impressionist guidelines, with works marked by a linear structuring of figures, but as he got more deeply into surrealism he created dreamlike images with collage, well-drawn, outlined figures, and always with gestural backgrounds,” Josep Miquel Garcia explains.Later, in 1958, he moved to Ibiza alone after separating from his former wife, Núria Garreta Socias, with whom he had two children. There, in the “fishermen's quarter”, Garcia tells us that he “actively participated in the cultural life of the island” and developed a style that, without being abstract, accentuates expressiveness and outline. Finally, he moved to Majorca until 1969, when he had to return to Barcelona to be admitted to the Hospital Clínic, where he died in 1970.Having reviewed the biography of Gamboa-Rothvoss, we can conclude that our Blue woman is from the stage when his artistic personality was forming, from a moment of transition in which the seed of the surrealist Rothvoss had been planted and would end up being developed in his Barcelona stage and even in the most abstract and solitary work from the Balearic Islands. Bibliographic references:- Bonet, J. M. (1995). “Diccionario de las Vanguardias en España (1907-1936)”. Page 267. Alianza Editorial.- Enciclopèdia.cat. (s. f.). “Amics de l’Art Nou”. Collected on 19th May 2022, from https://www.enciclopedia.cat/gran-enciclopedia-catalana/amics-de-lart-nou- Garcia, J. M. (2017). “Andreu Gamboa Rothvoss. Recuperant un logicofobista de Sabadell”. Arraona. No. 36, pp. 192-195.- Playà, J. (19 February 2017). “Otro pintor surrealista redescubierto”. La Vanguardia. Https://www.lavanguardia.com/cultura/20170219/42144105526/otro-pintor-surrealista-redescubierto.html
John Hassall (Walmer, 1868 - London, 1948)"Barcelone Sejour d'Hiver" (Winter stay in Barcelona)Original poster made in 1906. 130 x 98,5 cm.Published by "Affiches Barral Hermanos". 94, Paseo de Gracia, Barcelona. It bears the stamp of the "Syndicat d'Initiative" of Barcelona, which, according to the Arxiu històric de la Ciutat de Barcelona (The City of Barcelona’s historic Archive): "With the name of Sociedad de Atracción de Forasteros (Syndicat d'Initiative or Society for Attracting Foreigners) of Barcelona, the organisation was founded on the 1st April 1908, its objective being to promote tourism in Barcelona and the Province of Catalonia. It provided "forasteros" -foreign visitors- information of touristic and cultural interest in Barcelona. The promotors wanted to contribute to the modernisation and cultural and economic enrichment of the city and the country through encouraging tourism."The poster we are auctioning was published, as we can see, in a context in which tourism was beginning to be promoted in the Catalan capital, "as a strategy for transforming Barcelona and, by extension, Catalonia, which has been hit hard since 1898, when, with the loss of the colonies, the large overseas market for its industry also disappeared", as Carles Geli comments in his article for El País "Barcelona, ‘atracción de forasteros’" (Barcelona, 'attracting foreigners'). At that time, the city of Barcelona was "difficult to get to [and] the prices of the few hotels that existed were expensive." Barcelona was far behind the other large European cities such as Paris, London or Berlin, which in 1908 had 900,000, 600,000 and 500,000 visitors respectively, according to Geli’s article, which concludes that, for these reasons, the dominant political party of the time in Catalonia, the "Lliga Regionalista" used tourism "as an arsenal for its regenerationist project, due to the desire for Europeanisation, to jump from being a provincial city […] to a metropolitan city, capable of combining its nature as an industrial hub with that of a tourist hub".The Biblioteca Nacional de Catalunya (National Library of Catalonia), has an example of this poster in its collection. Bibliographic references:- Arxiu Històric de la Ciutat de Barcelona. (2021, July 07). "Revista Barcelona atracción. La Sociedad de Atracción de Forasteros y la promoción del turismo". Https://ajuntament.barcelona.cat/arxiumunicipal/arxiuhistoric/es/documentos-del-mes/revista-barcelona-atraccion-la-sociedad-de-atraccion-de-forasteros-y-la-promocion- Geni, C. (2019, June 27). "Barcelona, “atracción de forasteros”". Quadern. El País. Https://cat.elpais.com/cat/2019/06/27/catalunya/1561624482_806398.html
VLADIMIR VELICKOVIC (1935-2019)Pad II (Chute n° 2) 1964 signé et daté 1964. VII ; signé, titré et daté 1964. VII au revershuile et détrempe sur toilesigned and dated 1964. VII ; signed, titled and dated 1964. VIIoil and distemper on canvas 204 x 170 cm. 80 5/16 x 170 in.Footnotes:Cette œuvre est accompagnée d'un certificat signé par l'artiste.ProvenanceGalleria Galatea, TurinAcquis auprès de celle-ci par le propriétaire actuel circa 1985ExpositionSaint Marin, Ve Biennale Internationale d'art Contemporain, 1965BibliographieNoël Bernard et Alin Avila, Velickovic, peinture 1954 > 2013, Paris 2013, p. 53, illustré en couleurs (reproduit à l'envers et titré Pal)Peinte en 1964, Pad II (Chute n° 2) est un exemple parfait de l'art de Vladimir Veličković. Ancrées dans l'histoire personnelle de l'artiste concerné par l'expression du corps humain, les terreurs de la guerre agissent comme un thème central tout au long de sa carrière. Né à Belgrade en 1935, l'artiste a été élevé en Yougoslavie sous l'occupation nazie et a été témoin de la souffrance et de la violence humaine dès sa plus tendre enfance, dans un pays davantage ravagé par les conflits ultérieurs remodelant le paysage géopolitique de la région. Une expérience directe de la guerre et un intérêt pour le sujet du corps en mouvement l'ont conduit à explorer la forme humaine et animale, à laquelle il revient sans cesse dans son œuvre. Par l'utilisation audacieuse des couleurs prédominantes que sont le rouge, le blanc et le noir, il exprime une matérialité déchirée par le conflit et des motifs tels que les barrières frontalières rayées, récurrentes dans ses œuvres les plus emblématiques. La Chute, qui désigne un scénario d'effondrement, un titre qui évoque la chute de l'Homme, ainsi que celle du roman éponyme d'Albert Camus, paru en 1956.Architecte de formation, Veličković a consacré sa vie à la peinture, son succès à la Biennale de Paris de 1965 et l'obtention du premier prix l'ayant conduit à un séjour en France qui a duré 60 ans. Aux côtés de Dado et Ljuba, il est l'un des trois peintres de renom d'origine yougoslave qui se sont installés à Paris à cette époque. Son exposition à la Galerie du Dragon en 1967 lance sa carrière dans la capitale française. Plus tard, il a été décoré des titres de Chevalier de la Légion d'Honneur et de Commandeur des Arts et Lettres, ce qui lui a valu une reconnaissance supplémentaire. Etant l'un des artistes les plus célèbres du mouvement de la Figuration Narrative, l'art de Veličković a été reconnu internationalement et ses œuvres font partie de prestigieuses collections institutionnelles telles que le Musée royal des Beaux-Arts de Bruxelles, le Centre Pompidou de Paris et le MOMA de New York.Painted in 1964, Pad II (Chute n° 2) is a prime example of Vladimir Veličković's art. Concerned with the expression of the human body and rooted in the artist's personal history, the terrors of war act as a central theme throughout his career. Born in Belgrade in 1935, the artist was brought up in Nazi-occupied Yugoslavia and from an early childhood, he witnessed human suffering and violence, amidst the backdrop of a country further ravaged by subsequent conflicts which continued to reshape the geopolitical landscape of the region. A first-hand experience of war and an interest in the subject of the body in movement led to his exploration of the human and animal form, which he returns to over and again in his oeuvre. Through his bold use of the predominant colours of red, white, and black, he expresses a physicality torn by conflict and motifs such as the striped frontier barriers recurrent in his most iconic works. La Chute, translated as The Fall, which denotes a tumbling, crumbling scenario, is a title further evocative of the fall of man, as well as that of Albert Camus's seminal 1956 novel of the same title.Veličković a trained architect, dedicated his life to painting, with his success in receiving the top prize at the 1965 Paris Biennial leading to a stay in France that lasted 60 years. Alongside Dado and Ljuba, he is one of the renowned Yugoslavian painters who settled in Paris in this period. His exhibition at the Galerie du Dragon in 1967 launched his career in the French capital. He was later awarded the prestigious Chevalier de la Légion d'Honneur and the Commandeur des Arts et Lettres, earning him further recognition. As one of the Narrative Figuration's movement most celebrated artists, Veličković's art has been recognised internationally and his works are held in prestigious institutional collections such as the Royal Museum of Fine Arts in Brussels, the Centre Pompidou in Paris, and New York's MOMA, amongst others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Huerto de Vilanova".Oil on canvas.Signed in the lower right corner.Size: 38 x 46 cm; 57 x 65 cm (frame).Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893, together with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual), he founded the "Colla del Safrà" (Safrà Group) to explore together the pictorial initiatives of the end of the century. The name came from the saffron and ochre tones they used in their paintings, with which they sought to capture the Mediterranean luminosity and reject the coldness of the greys and blues of the French Impressionists. Nevertheless, they imitated the Impressionists in their taste for painting in the open air, capturing the atmospheres and types they saw. In 1896 they even took part as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works that give us a clear idea of the group's ideals: "The Rector's Vegetable Garden" and "The Orange Seller". From 1897 he also frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde met, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. 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. In 1901 he exhibited the fruit of this first Mallorcan period at the Sala Parés in Barcelona, where he 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. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He painted the houses, the churches, the orchards, the people, the flowering almond trees, the farmyards... Unimportant subjects that were more and more in line with the reality of nature, as they only wanted to reflect his love for his land and his constant search for changes in the light. His style was no longer as expressive as in Mallorca, although his bold use of colour and stain remained. 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.
PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Eva", 1940.Oil on panel.Signed and dated in the lower right corner.Work reproduced in "Pere Pruna. Pintor mediterrani: 1904-1977", pg.130. Published by Sitges Town Council, 2004.Measurements: 199 x 70 cm; 203 x 74 cm (frame).The biblical Eve is transfigured by the work and art of Pere Pruna into a modern woman, a nymph proud of having tasted the forbidden fruit. In this imposing painting, the naked body of the "first woman" is unashamedly displayed, overturning the long tradition of repentant, wealthy Eves covering themselves and their nakedness. But, curiously enough, that tradition is also present in this painting, because the author probably wanted to dialogue with them: Dürer, Cranach.... The slender waist and beautifully turned limbs culminate in a defiant face with raised eyebrows and closed eyelids. The lips are set alight with lipstick, and long hair flows over the smooth bust.A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space named after him, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
PERE CRÉIXAMS PICÓ (Barcelona, 1893 - 1965)."Gypsy family".Oil on canvas.Signed in the lower right corner.Size: 196 x 130 cm; 199 x 134 cm (frame).In this composition, resolved with bold and vibrant brushstrokes, Créixams gathers a group of gypsy women in a forest clearing. The figures occupy almost the entire frame, so that the surroundings are subsumed by the plastic richness of the cloths and mantillas, but above all by the psychological characterisation of each figure. One attends to her little one, another is oblivious and dreamy, and the youngest looks at us, questioning us.A self-taught painter, Créixams began his career as a cabinetmaker and typographer. In 1918 he travelled to Paris and, in contact with the artistic atmosphere of Montmartre, decided to devote himself to painting. In the French capital he took part in the École de Paris and exhibited at the Salon des Indépendants (1922), the Salon d'Automne (1925) and the Tuileries. He also illustrated works by Rimbaud, Verlaine, Baudelaire, Max Jacob and Cocteau. He returned to Barcelona in 1927 and took part in the last exhibition of the Evolutionists. In 1936 he returned to Paris, but continued to exhibit regularly in Barcelona. Influenced by Nonell, his favourite subject was always the figure. Pere Créixams Picó is currently represented at the MACBA, the Petit Palais in Geneva, the Nacional de Bellas Artes in Buenos Aires and other European and American museums.
GUSTAVO BACARISAS Y PODESTÁ (Gibraltar, 1873 - Seville, 1971)."Vista de pueblo".Watercolour and mixed media on paper.Signed in the lower left corner.Size: 34,5 x 28 cm; 50 x 43 cm (frame).Gustavo Bacarisas produced several images dedicated to rural landscapes, in which, as here, he introduced the colour blue with great mastery. A tonality that he mastered to such an extent that it became one of his personal hallmarks. In this image the use of that colour configures a scene in semi-darkness, which is counterbalanced by the warmth of the last shot, lit in such a way as to create a specific moment of the day, when the city, or the village in this case, is dawning. The narrow street, configured through a large diagonal, forms a landscape of great depth, with only an old woman dressed in mourning, next to a little girl tenderly dressed in pink.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training with a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913), where he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
ELISEO MEIFREN ROIG (Barcelona, 1857 - 1940)."Sunset".Oil on panel.Signed in the lower right-hand corner.Measurements. 17 x 28 cm; 30 x 40 cm (frame).In this dedicated landscape Meifren recalls the work of Monet, surely influenced by the work "Impression of the Rising Sun". In both pieces one can appreciate the subtlety of the effects of light on the surface of the sea. However, Emigren configures the image with a very personal aesthetic language; diluting the colour more and dilating the brushstrokes.Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the Barcelona School of Fine Arts, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to produce romantic landscapes of academic style. After completing his studies in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he became acquainted at first hand with "plen air" painting, which was to have a powerful influence on his Parisian landscapes of those years. It was also in Paris that he coincided with the public debut of Impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome, where he came into contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he took part in the Regional Exhibition in Valencia, where he won a gold medal. Back in Barcelona in 1880, he made his individual debut in 1880 at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. During these years he was a member of the Modernist group and frequented Els Quatre Gats. In 1883 he returned to Paris, where he produced numerous drawings and watercolours with views of the city and its cafés, which earned him a warm reception from the French critics and public. In the late 1980s he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centre de Aquarelistes. In 1888 he was also a member of the jury for the Universal Exhibition held in Barcelona. In 1890 he returned to the French capital for the third time, where he took part in the Salon des Beaux-Arts and the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group the previous year. In the following years Meifrèn submitted his works to numerous official exhibitions and competitions, including the National Exhibitions of Madrid and Barcelona, and was awarded third medals at the Paris Universal Exhibitions of 1889 and 1899, a silver medal at the Brussels Universal Exhibition of 1910, a grand prize at the Buenos Aires Universal Exhibition of the same year, a medal of honour at the San Francisco International Exhibition of 1915 and a grand prize at the San Diego Exhibition the following year. He also won the Nonell Prize in Barcelona in 1935. In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palau de la Virreina. His initial landscapes, characterised by an academic and romantic concept, would later evolve towards an impressionist language; having abandoned Romanesque preciosity, his would be a technique of loose brushstrokes and a clear palette, in which the luminous conception approached symbolist premises, within the orbit of Modesto Urgell. He is currently represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
GUSTAVO BACARISAS (Gibraltar, 1873 - Seville, 1971)."Lady with a Fan in the Albaicín", 1922.Oil on canvas. Relined.Attached certificate of authenticity issued by Doña Elsa Jernas, the artist's widow.Work reproduced in the catalogue; Gustavo Bacarisas (1873-1971), Anthological Exhibition. Seville Palacio Mudejar, 1972.Provenance: Elsa Jernas.Preserves early 20th century frame.Measurements: 100 x 80 cm; 118 x 98 cm (frame).In this work the artist represents a seated girl, holding a fan and looking at the spectator with a broad smile. The young woman is set in a landscape depicting a nocturnal view of Aracena (Huelva). This portrait, which has a costumbrista heritage, is dominated by the presence of blue, which was a characteristic tone in Bacarisas's painting, to such an extent that it became one of his personal hallmarks, thus approaching a more symbolist and Noucentist aesthetic trend. This work reveals all the pictorial aspects that defined the painting of Bacarisas, who was one of the most important painters of the early twentieth century: the aforementioned blue tone, the nocturnal landscape for which he felt a predilection and the figure of women with Flemish features were indisputable hallmarks of his lyrical and joyful painting.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training on a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913). As a Briton, he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.
JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)"Sailor boy".Oil on canvas.Signed in the lower left area.Measurements: 84,5 x 71 cm.During the 19th century, beginning of the 20th century, the child portrait began to gain more prominence, extending from the nobility to the bourgeoisie. This fact was largely due to a change in education, and in the way in which the relevance of children in the family environment was conceived. For this reason it is not surprising to see a play like this one, in which the boy is the sole protagonist of the scene, unaccompanied by his parents.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He went to Sitges in 1910, at a time when his style had gradually lost its post-impressionist influences and was moving towards Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the forefront of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974 to commemorate the centenary of his birth. As an easel painter he was the most representative of "noucentisme". His landscapes and female nudes were particularly outstanding, as were his portraits, which were far removed from traditional painting. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.
A 20th century painted plaster figure of a seated Staffordshire bull terrier, height 53cm (some faults), together with a 20th century brass and onyx table lamp, the foliate capital above a cylindrical onyx column and cast foliate square base, height 34cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Argian II. In the Light" 1989Engraving on paper. Copy 43/50Signed and jutsified in pencil.Work referenced in "Eduardo Chillida. Opus P.III. Complete catalogue of graphic works. 1986 - 1996" p. 163.With damp stains.Measurements: 29 x 21 cm; 55 x 55 cm (frame).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 the 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.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Composition", 1960. Collage of handmade papers. Unique piece.Attached certificate of authenticity issued by the Chillida Foundation.Signed and dated in the lower right-hand corner.Measurements: 75 x 54 cm; 103 x 81.5 cm (frame).In this collage by Chillida, one can appreciate a taste for texture and volume that bear witness to the sculptor's sculptural career. Chillida devoted part of his artistic career to making collages, dividing his production into two different areas. One in which he worked with cut paper, which he glued onto the support of the work, and another area in which he worked with graphic work. He normally used paper with rough textures and a selection of three-tone colours, although he later opened up his chromatic range to five more diverse shades.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.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Beltza-Txiki", 1969.Etching on paper. Copy 44/50.Signed and numbered in pencil.Sizes: 33 x 25 cm (paper); 52.5 x 42.5 cm (frame).Chillida begins his training at the School of Architecture at the University of Madrid, but abandons 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 took up 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. In 1951 he returned to San Sebastian for good, and made his first work in iron, the material with which he would work 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, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and 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.
A large and impressive panoramic view of the city of Lahore Punjab, Lahore, circa 1840-45watercolour with some gold on paper, 11 separate joined sheets of paper, identifying inscriptions in Persian on painted surface, in mount, framed 24 x 235 cm.Footnotes:The two peaks of Lahore's fortune as a great city were first under the early Mughal emperors, until the death of Aurangzeb, when it was adorned with palaces, gardens and tombs; and second, the period of Maharajah Ranjit Singh, the acme of Sikh power, from his triumphant entrance into the city in 1799 and the establishment of his regime, to the collapse of Sikh rule in the years after his death, and British control of the Punjab. Between those two events it had been captured twice, first by the Persian Nadir Shah, in his catastrophic invasion of India in 1739, and then again by the Afghan Ahmad Shah Durrani.In 1831 the British political officer and traveller, Alexander Burnes, capturing something of the ancient nature of the city, and its various layers of history, wrote:On the morning of June 18th we made our public entrance into the Imperial city of Lahore, which once rivalled Delhi. We moved among its ruins [...] In our evening at Lahore, we had many opportunities of viewing this city. The ancient capital extended from east to west for a distance of five miles, and an average breadth of three, as may yet be traced by the ruins. The mosques and tombs, which have been more stably built than the houses, remain in the midst of fields and cultivation as caravanserais for the travellers. The modern city occupies the western angle of the ancient capital, and is encircled by a strong wall. The houses are very lofty, and the streets, which are narrow, offensively filthy, from a gutter that passes through the centre. (Travels into Bokhara, London 1834).The city was first of all drawn by various European artists, including Frances ('Fanny') Eden (1801-1841), sister of the more famous Emily Eden, who recorded sketching it in her diary for December 1838 (so roughly contemporary with our painting). However, the European doctor, Martin Honigberger, who was in Lahore at the Sikh court between 1829 and 1833, and then again between 1839 to 1849, recorded that he sold a panorama of Lahore by an Indian artist to the Russian painter Prince Alexis Soltykoff. Honigberger apparently took home similar paintings, since in his illustrated memoir Thirty-Five Years in the East (1852) he included lithograph views based on them (see F. S. Aijazuddin, Lahore: Illustrated Views of the 19th Century, 1991, pp. 48-49, no. 15). Woodcut versions, apparently derived from such paintings, but in a much more naive style, were also being produced in the latter half of the 19th Century: for an example, see F. S. Aijazuddin, op. cit., 1991, pp. 84-85, no. 39. At a similar date, panoramas of Delhi, and other highly detailed topographical studies of the city, were being produced by artists such as Mazhar Ali Khan, at the tail end of Mughal power, and Mughal art (for which see J. P. Losty, 'Depicting Delhi: Mazhar Ali Khan, Thomas Metcalfe, and the Topographical School of Delhi Artists', in W. Dalrymple, Y. Sharma (edd.), Princes and Painters in Mughal Delhi 1707-1857, New York 2012, pp. 52-59.)For another example of such a panorama, see Christie's, Arts of India, 10th June 2015, lot 101 (previously at Sotheby's, Exotica: East Meets West, 1500-1900, 25th May 2005, lot 139), which appeared in the exhibition Interaction of Cultures: Indian and Western Paintings 1780-1910, The Fine Arts Museum of San Francisco, 1998, cat. no. 71 (pp. 278-80). For a smaller example from a similar viewpoint, see Christie's, Art of the Islamic and Indian World, 4th October 2012, lot 221.An example of similar size with both English and Persian inscriptions is in the Singh Toor Collection: for a good discussion, along with a survey of the locations and buildings depicted, see D. Singh Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 96-101.The monuments identified identified in the inscriptions include (ten have not been fully deciphered):The Shah's tower.The Tower of Rajah Ranjit Singh, construction of which began in 1839, not completed until 1851.The Shah's Tower of Yakki Gate.The Royal (Padshahi) Samman Tower.The Black Gate.The Gate of Light (Roshnai Gate) (illuminated at night).The White (Jasmine) Gate of Jawahir Singh Jiv.The Masti Gate.The Kashmiri Gate (facing in the direction of Kashmir).The Khizri Gate.The Royal (Padshahi) Mosque.The Old Mosque.The Mosque of Vazir Khan.The Hazuri Garden. The Mazhar 'Ali small garden.The Royal Summerhouse.The Sleeping quarter.The Large Sleeping quarter.The Mansion of [...] Nau Nihal Singh Jiv.The Mansion of Sardar Thij [?] Singh.The Mansion of the officer of the army, Khoshhal Singh.The Mansion of Sardar Ahlu Waliyah [?]. The Mansion of Sardar [...] Singh.The Arsenal [?] of Mazhar 'Ali.The Akbari District.The Akbari stable.For further information on this lot please visit Bonhams.com
Charles R. Gerrard ARA (British, b. 1892) The Delhi Gate, Delhioil on board, signed C. Gerrard lower right 51 x 61 cm.Footnotes:The Delhi Gate depicted by Gerrard in this painting was built in the 17th Century, comprising one of fourteen such gates built by Shah Jahan within his city walls, having moved his capital from Agra (the city's original name was Shahjahanabad, after its founder). The Delhi Gate stands at the entrance of Daryagani, linking New Delhi city with the old walled city.C. R. Gerrard was Principal of the Sir J. J. School of Art in Bombay from 1936 to 1946, introducing a keen personal observation of 1930s modernist developments in British and European painting, sculpture, graphic design and architecture. He was assisted in this by exiles from the Nazi regime such as Walter Langhammer and Rudi van Leyden, who with Gerrard directed at the School, invigorated the Bombay Art Society and encouraged modernist and art deco European design amongst local architectural practices and in commercial printing. Despite the pupils' necessarily local origins and inability to travel during the war, Gerrard encouraged groupings of pupils to adopt this eye on Western developments.In 1941 a group referred to as the 'Young Turks' held a show featuring the work of P. T. Reddy, M. Y. Kulkarni, A. A. Majeed, C. Baptista and M. Bhople, artists who regarded themselves as being in modernist opposition to the more Victorian and Edwardian style of Dhurandhar, Haldankar, and Trindade. But more notably in the history of modern Indian art the less tentative group known as the Bombay Progressives emerged. This consisted of Francis Newton Souza (whom, however, Gerrard was forced to expel from the School for his connections with the pro-independence movement), H. A. Gade, S. H. Raza, S. K. Bakre, K. H. Ara and M. F. Husain. Some of Gerrard's pupils retained close ties with Bombay (e.g. K. K. Hebbar and Tyeb Mehta) while others, like Souza and Raza, under his influence embarked for Britain and Europe after the war.Gerrard brought the J. J. to maturity: under enlightened predecessors such as Lockwood Kipling, Solomon Gladstone, Cecil Burns and M. V. Dhurandhar a beaux-arts and arts and crafts traditionality had understandably persisted, but with Gerrard the J. J. became modernist.For discussion of Gerrard and his work, his influence on Bakre and others, and the Bombay art scene at this time, see Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, pp. 27-28, 189, 240-241; and N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 196, 200.For further information on this lot please visit Bonhams.com
FREIRE, Francisco de Brito.- NOVA | LUSITANIA, | HISTORIA DA | GUERRA | BRASILICA | A | PURISSIMA ALMA | E | SAVDOSA MEMORIA | SERENISSIMO PRINCIPE | DOM THEODOSIO | PRINCIPE DE PORTVGAL, | E | PRINCIPE DO BRASIL. | POR | FRANCISCO DE BRITO FREYRE. | DECADA PRIMEIRA.- Lisboa: Na Officina de Joam Galram, 1675.- [16 (i. é 14)], 460, [8], 64, [39, 1 br.] p.; 30 cm.- E., A working copy of the original edition of a work of capital importance to the history of Brazil, namely from 1630 to 1638. The author (ca. 1625-1692) was admiral of the Portuguese Fleet in Brazil and governor of Pernambuco (1661-1664) ), which allowed him to describe the events at first hand, having also had access to extensive documentation, both Portuguese and Dutch. The edition includes an engraved allegorical frontispiece, which is missing from the present copy. It also includes the «Viage [sic] da Armada da Companhia do Commercio, e Frotas do Estado do Brasil», with its own title page, dating from 1655 ([8], 64 p.). The last group of 39 numbered pages corresponds to the index. The copy also lacks the second preliminary sheet (beginning of the dedication) and has some serious defects, the main ones being the following: mirrored title page with browning and serious restoration, extending to the two following sheets; last two leaves with less profound restoration, especially on the outer margin. The rest of the sheets are cropped, but clean and without noticeable defects. Binding from the 19th century(?), full sheepskin. Inocêncio, III, p. 361. Borba de Moraes, p. 324/326 (rare). Samodães, 484. Auvermann, 1051. Arouca, F 187.
GARCIA, Pe. Gregorio, O.P.- Origen de los Indios de el Nuevo Mundo, e Indias Occidentales, averiguado con discurso de opiniones [...] Tratanse en este libro varias cosas, y puntos curiosos, tocantes à diversas Ciencias, i Faculdades, con que se hace varia Historia, de mucho gusto para el Ingenio, i Entendimiento de Hombres agudos, i curiosos.- Segunda impression. Enmendada, y añadida de algunas opiniones...- En Madrid: En la Imprenta de Francisco Martinez Abad., 1729.- [32], 336, [80] p.: il.; 29 cm.- E., Father Gregório Garcia (1556/61-1627), a Spanish Dominican missionary, born in Cózar (Jaén), spent 12 years in the missions in America, three of them in New Spain (colonial viceroyalty in North and Central America, with capital in Mexico City) and nine in Peru. Second edition of his most important work, the original edition having been published in Valencia in 1607. The title page is illustrated with a curious copper plate print, representing a landing of missionaries near an Indian village. The second sheet includes a large engraving of St. Thomas Aquinas to whom the work is dedicated. Copy a little cropped and with slight handling, but complete and solid. Ex-libris of Oscar Benjamin Cintas. Contemporary binding, fully flexible parchment, with the first flying endpaper missing. Palau, 98007.
Two 19th century Sèvres-style Napoleonic plates and a bowl painted with a battle scene, the borders with a capital 'N' cipher and berried laurel branches, the reverse bearing an imitation iron red painted 'MRE IMPLE DE SEVRES' mark, also with painted mark of the battle scenes/locations, comprising a plate, diameter 22cm, a plate with applied foot rim, diameter 23cm and a shallow bowl, diameter 23cm (3).
ANIS (BORN 1966); three coptic pen and fineliner on paper works, comprising 'Hills of Bethlehem', titled, signed and inscribed 'for Charles Matthews' lower right, approx 29.5 x 42cm, framed, an example depicting a shopping mall with large glass windows looking out onto Cologne Cathedral, untitled, signed and dated 2011 lower right, approx 29.5 x 42cm and an example depicting a bridge, signed and dated 2009 lower right, approx 29.5 x 39.8cm, framed and glazed, also a coptic pen, fineliner and acrylic paint, 'Liverpool European Capital of Culture 2008 #1', signed and titled lower right, approx 29.3 x 41.8cm, framed and glazed, a coptic pen and pencil 'Jonas in Berlin Im Körper von Anton', approx 20.8 x 29.4cm, framed and glazed and a print 'Via Dolorosa', depicting an alleyway with palm tree in the background, approx 35.4 x 27.5cm, framed (6). † CONDITION REPORT This lot may qualify for Artist Resale Rights. For further information, please visit
A pocket watch commemorative of the City of Santarém Capital of GothicGold White enamelled dial of Roman numbering and seconds wheel Winding mechanism The back engraved with the Heraldic shield for the City of Santarém Swallow hallmark 750/1000 (1985-2000) and same date maker's mark In the original wooden case and with warrantee certificateDiam.: 4,8 cm68.8 g
19th century walnut tripod stand, concave and canted square top with lobe carved rim, fluted column with scrolling acanthus leaf capital on platform, the platform of circular form carved with shells and surmounted by three dragon figures, three splayed scaled supports carved with acanthus leaves and with ball and claw feet, foliate swags and carved stylised flower head bracketsDimensions: Height: 88cm Length/Width: 30cm Depth/Diameter: 30cmCondition Report:Diameter to splayed legs - 56cm
SPRINGBANK 25 YEAR OLD OLD STYLE MINIATURESingle 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.46% ABV / 5clFill level in mid shoulder.
SPRINGBANK 25 YEAR OLDSingle 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.46% ABV / 70clPlease see additional images.
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