EUGENIO GRANELL (A Coruña, 1912 - Madrid, 2001)."Hunter, 1945.Oil on panel.Signed and dated in the lower right corner.Size: 23 x 30 cm; 32 x 43 cm (frame).In the work presented here Granell shows a notable reduction of compositional elements, prioritising the figures, dispensing with the scenographies of previous periods, constructing the characters from masses of flat and intense colours. These resources enhance the monumentality of the figures and increase their symbolic and morphological description. Another characteristic element of this work is the use of the colour black as a contour line that generates forms.A painter, watercolourist, engraver and sculptor, Eugenio Fernández Granell spent his childhood in Santiago de Compostela, a city that would largely influence his plastic work. Initially inclined towards music, in 1928 he moved to Madrid to study violin at the Escuela Superior de Música. In the capital he frequented intellectual circles linked to Marxism, and finally joined the Partido Obrero de Unificación Marxista (Marxist Unification Workers' Party) in 1935. At the outbreak of the Civil War he joined the Republican army, and also edited "El combatiente rojo", his party's newspaper. However, after the end of the war, he was persecuted both by the new regime and by his communist comrades for being a Trotskyist. He went into exile in France in 1939, and after passing through several concentration camps, he left for South America. He settled in the Dominican Republic, where he joined the Symphony Orchestra as first violin. However, when the Trujillo dictatorship hardened, Fernández Granell left the country to settle in Guatemala, where he taught at the Escuela de Artes Plásticas. When the Guatemalan revolution broke out in 1950, he had to flee again for fear of Stalinist persecution, and this time he arrived with his family in Puerto Rico, where the painter took up the chair of Art History in the Faculty of Humanities. However, despite this continuous wandering, Fernández Granell continued his artistic work, holding exhibitions and publishing books of short stories and poetry. In 1956 he met Marcel Duchamp, who flattered his plastic and poetic art and reinforced his surrealist activity. That same year he moved to New York, where he settled permanently. Professor of Spanish Literature at Brooklyn College in the city, during this period he obtained a doctorate in Sociology from the New School for Social Research, with the thesis "Picasso's Guernica. The end of a Spanish era" (1967). Fernández Granell remained in New York until 1985, when, after retiring, he returned to Spain with his wife, settling in Madrid. Already widely recognised, he was awarded important prizes such as the Gold Medal for Fine Arts. In 1995, the foundation that bears his name was established in Santiago de Compostela, which today houses most of his artistic production.
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PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Declinatoria de Picasso a Luis Felipe Vivanco", 1960.Drawing with crayons on paper.Signed, dated and dedicated.Size: 19,5 x 14 cm.Dedication from Pablo Ruiz Picasso to the architect Luis Felipe Vivanco, who wrote the Poem Goat (Picasso), published in issue IX of "Papeles de Son Armadans", December 1956.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a brief period. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met 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 vivid colours and strange forms. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Giorgione à Felanitx", 1984.Mixed media on paper.Titled and signed with initials in the lower margin.With Bischofberger gallery label on the back.Size: 24 x 31,5 cm; 44,5 x 54 cm (frame).The 1980s was one of the most important decades in Miquel Barceló's plastic art, as it meant his international recognition. He began with his establishment in Barcelona in 1980, and exhibited in several European cities. He took part in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986, he showed his work for the first time in the United States (specifically, at the Leo Castelli Gallery in New York). Two years earlier he had already exhibited his work for the first time with Bruno Bischofberger, and met and married Cécile Franken. In 1987 he settled in Paris, and the following year he travelled for the first time to Africa, another important geographical reference point in his career. The present work is a sketch for the imposing painting "Giorgione a Felanitx", a large-format canvas (300 x 200 cm) also painted in 1984, which alludes to Giorgione, one of the Mallorcan's most admired painters.A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of just seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early 1980s. In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most distinguished awards, such as the Prince of Asturias Prize for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.
AN EARLY GEORGE III CAST SILVER HEXALOBED TAPER STICK WILLIAM GRUNDY, LONDON 1760 The hexalobed sconce with shells at the rim, a reel capital, a multi knop stem, the base with shells at the rim 13.3cm (5 1/4in) high 162g (5.2 oz)Condition Report: Minimal wear, sconce and capital unmarked, marks clear except maker poorly struckCondition Report Disclaimer
An Edwardian ormolu mounted onyx pedestal,with square top, corinthian capital and block base,W,32cm H.117cmOverall in fair condition, the square top has cracks running through two of the corners, ormolu is now dulled down to a matted tone, top rotates at the base of the capital, feet look rather dirty with some minor chipping around the block base.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. W,32cm H.117cm
° ° A Collection of deeds and documents relating chiefly to Kent, 1264-1654, from the collection of Thomas Godfrey Godfrey-Faussett (1829-1877)Thomas Godfrey Godfrey-Faussett (for whom see the Oxford Dictionary of National Biography), the son of the professor of divinity at Oxford, was a barrister who in 1866 moved to Canterbury as auditor to the Dean and Chapter; in 1871 he became District Registrar of the probate court in the city. Godfrey-Faussett was the great-grandson of the Kentish clergyman-antiquary Bryan Faussett (1720-1776), and it was to the study of the antiquities of the county that he devoted his leisure time.The 85 documents forming this collection can be divided into two groups – 36 charters relating to Pluckley and Little Chart, mostly with intact seals, and ranging in date from 1290 to 1469; and 49 charters and other documents relating to Kent (45), Essex (2) and London (2).The endorsements on both groups demonstrate that the entirety of the first and the majority of the second had formed part of the archive of the Dering family of Surrenden in Pluckley.The charters in the first group have place-names and personal names underlined in red ink, and are endorsed with a numerical reference in violet ink characteristic of the Dering sale at Puttick and Simpson on 13 July 1865; in that they closely resemble Dering charters at Kent Archives, U350 and U1823.Many of the deeds and documents in the second group must also have originated in the Dering archive – many have endorsements in the hands of Sir Edward Dering (1598-1644), antiquary and religious controversialist (see ODNB), relating both to the contents of the documents themselves but also to his antiquarian, religious and topographical research; in one case he has stitched together two unrelated documents to serve as a medium for a pedigree of the descendants of John Johnson of the Isle of Thanet.The collection has many highlights, the first of which must be the rare opportunity to acquire ten intact lots, amounting to 36 medieval charters, from the renowned Surrenden Dering archive. The second group includes two counterpart leases by Thomas Chillenden, prior of Christ Church Canterbury, one of two tenements with solars attached on the west side of the great gate of the prior and convent in the parish of St Bartholomew, London, 1406. There are five original wills with notes of probate endorsed, 1416-1471, one of which was granted by peculiar jurisdiction of Wingham College in 1450 and bears a fine impression of its seal, which is also appended to a lease by the provost (archbishop Thomas Cranmer’s younger brother Edmund) and canons of Wingham of a farm in Wingham, 1542. An inventory of the goods of Robert Jull of Denton, appraised at £39 17s 1d on 13 April 1585, is also included in the collection.No manorial documents are included in the collection; a complete list of all 85 documents is available.Dering saleCW #Pencil #Ink #Parties and placeSeal?Date1.603363/3William ate Bure to William de Stonforde; Pluckley, held of Little ChartN1290-12912.12363/3John son of William de Plukele kt to William son of Warin de Brochell; PluckleyYJan 12923.602363/3John son of William de Plukele kt to William son of Warin de Brochell; PluckleyNMay 12924.39365/4John Malemeys exchange with John Lambyn of Pluckley; Pluckley, owing suit to the manor of PluckleyYFeb 13075.178365/4Robert de Hardres to John Malemeins of Waldershare, his wife Eleanor and their son John; Caldecote in PluckleyY22 Mar 13076.599365/4Gilbert le Pylecherre to William de Plukele and his wife Agnes; acknowledgement of a rent of three hens for Lotekyneland in Pluckley, previously charged on ClerkeslandN1301-13027.24367/3William son of John de Plokele to John Malemeyns; PluckleyYOct 13088.413/1367/3John Malemeyns to William son of John de Plokele; PluckleyYOct 13089.413/2367/3Thomas son of Simon de Brunesforde to William son of John de Plokele; PluckleyYMar 131110.595368/4William de Brochelle son of W de B kt deceased to William son of John de Plukele and his wife Isabel and to William’s heirs; PluckleyY1313-131411.594368/4John Malemeyns of Waldeshare, kt, to his (named) tenants of the manor of Pluke of the offices of reeve and beadleN1 Feb 131512.593368/4Thomas Smith of Little Chart to William son of John de Plukele; PluckleyY24 Feb 131713.591368/4John de Querstede to John de Sellyngge, citizen and apothecary of London; PluckleyYOct 131714.140370/4Robert Ive to John de Sellyng and his son John; PluckleyY1 Sep 133115.80370/4William son of John de Toniforde to William son of John de Plukele and his wife Isabel; capital messuage in Pluckley and lands Y16 Dec 133216.48370/4William son of Eudo de Shillingheld to John son of Thomas Chicche and John’s wife Katherine; the manor of Everingeecre in Pluckley and BethersdenY2 Apr 133317.1000370/4William son of Eudo de Shillingheld to John son of Thomas Chicche of Canterbury and John’s wife Katherine; the manor of Everingeecre in Pluckley and BethersdenYApr 133318.276371/3William son of Eudo de Shillinghelde to John son of Thomas Chicche of Canterbury and John’s wife Katherine; the manor of Everingeecre in Pluckley and BethersdenYApr 133319.589371/3William son of John de Tunyforde deceased to Joan, Alice, Scholastica, Eleanor, Isabel and Katherine daughters of William de Plukele; Pluckley and ChartY19 May 134920.328371/3Eleanor daughter of William de Plukele to John son of Robert de Okenfolde; Chart and PluckleyYJun 134921.053376/4John Pyrefeld of Pluckley to John Frend and William Baker; Pluckley, Smarden and Little ChartY29 Dec 137322.587376/4Theobald de Surinden of Smarden to his brother John; Pluckley and Little ChartY6 Jan 137923.1376/4Michael Smyth of Playford to John de Surrindene and his sons Harvey and Roger; PluckleyYOct 137924.137376/4Harvey and Roger sons of Michael atte Lee of Playford to John Surinden of Fordmelle; PluckleyY14 Feb 138025.295381/4Margaret daughter of John Haute of Pluckley to her father; lands and tenements formerly John Surrynden which descended to her on the death of her mother JoanY18 May 142126.433381/4John Mounte, citizen and cutler of London, to Henry Malmayns of Pluckley; his rights in the manors of Pluckley and Waldershare in which he and others was enfeoffed by HM Y10 Aug 142127.432381/4Henry Malmayns of Pluckley esq to feoffees (named); manors of Pluckley and Waldershare in Pluckley, Hothfield and SmardenY22 Dec 142128.584381/4John Haute of Pluckley esq to his daughters Christine wife of John Deryng and Elizabeth Haute; tenement late Surrenden in Pluckley and Little Chart; details of buildingsY10 Jun 142529.53382/3John Haute of Pluckley esq to Reynold Dreylond and JH’s daughter Christine, formerly wife of John Deryng, and to her heirs; tenement formerly John Surrenden in Pluckley and Little ChartY10 Feb 142730.143382/3John Haute of Pluckley esq to Reynold Dreylond and JH’s daughter Christine, formerly wife of John Deryng, and to her heirs; tenement formerly John Surrenden in Pluckley and Little ChartY10 Feb 142731.41382/3John Seyntleger and William Norton to Richard Malmayns and Alic
* GERARD BURNS (SCOTTISH b. 1961),WINTER WOODLAND WALKoil on canvas, signedimage size 100cm x 100cm, overall size 123cm x 123cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* GERARD BURNS (SCOTTISH b. 1961),RED COAT, MERCHANT CITYoil on canvas, signedimage size 60cm x 60cm, overall size 83cm x 83cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
German Capital Ships of World War Two by M J Whitley Softback Book 2000 Second Edition published by Cassell and Co some ageing. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772)"Triumphal entrance of Alexander in Babylon"Six-panel folding screen. Oil on canvas. 192 x 312 cm. The first panel is missing.An oil painting on canvas (n.d.) by Juan Patricio Morlete was exhibited in 2015 at the Museo Nacional de San Carlos in Mexico, as part of the permanent exhibition “Neoclasicismo” with the same theme and great compositional similarities to this painting. There is another canvas also by Morlete which is very similar to the former, which forms part of the artistic patrimony of the Fomento Cultural Banamex. It is one of the paintings of the set of battles of Alexander the Great which the artist painted in 1767, inspired, as Ilona Katzew explains (2014), by a monumental series of engravings by Charles Le Brun (Paris, 1619 – 1690) of “The Triumphs of Alexander”, which were commissioned by Louis XIV and sent to European governors as propaganda. One of the engravings by Jean Audran (Lyon, 1667 – Paris, 1756), can be found in the Barcelona Museu Nacional d’Art de Catalunya (MNAC). We find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by Le Brun (1665), which is exhibited in the Louvre Museum. This may also be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. Moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. It is known that Morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. He would augment the margins or add characters and vegetation, which could explain these modifications. In any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. With regard to the support of our painting, folding screens arrived in the New World through the route that united the Far East and Spain via Mexico, on vessels known as the China Ship or Manila Galleon. It is not exactly known when the first contact with New-Hispanic society with this and other products of an Asian origin happened, but it is known that they formed part of the embarkations in 1585, when a Japanese ambassador came to Mexico City as part of her voyage to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 – Shizuoka, 1616) to the viceroy Luis de Velasco (1607 – 1611). This growing Exchange between Asian and Colonial Latin American civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to Gauvin A. Bailey (2007) “feelings contrary to Spain” began to grow, and “Asian art gave Hispanic-Americans a way of expressing their pride in the indigenous antiquity of their land.” With regard to folding screens, these were extremely popular in New-Spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household’s economy. In fact, Sofía Sanabrais (2007) tells of the existence of “biombos ordinarios” (ordinary screens) with cheap textiles and no paintings in humble homes. However, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. On the one hand, New-Hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the “biombos de cama” or bed screens (Sanabrais, 2007). On the other, their decorative use also had many devotees, whether as “backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation,” (Katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: Cabrera, Correa or Morlete himself. In fact, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (Codding, 2007). We know of a screen in the Franz Mayer Museum in Mexico that is signed by Juan Correa: “The four elements and the liberal arts” (c. 1670); and “Folding screen with fête galante and musicians” (c. 1760) can be attributed to Miguel Cabrera.Finally, focussing on the artistic value of the “protection against the wind” (if we refer to folding screens using the literal translation of the Japanese term ‘byôbu’, which the Spanish ‘biombo’ comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. It is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by Correa that was previously mentioned. They are also ideal for views of cities, as we see in one of the first screens that illustrates the Mexican capital (1690 - 1692), in the Franz Mayer Museum, as well as scenes of high-class parties, such as the screen attributed to Cabrera;, or for historical themes, good examples of this being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to Morlete. Bibliographic references: - Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica. - Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso. - Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica. - Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola. - Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica. - Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso. - López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado. - Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, Mexico,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/582608136462204928
Souvenirs of Berlin/1945, an album of b/w snapshot photographs by and/or collected by Jack Horabin, illustrating the German capital following the Battle of Berlin, the collapse of the Third Reich, and the start of the Cold War, images include ruins of Nazi architecture, soldiers and parades of the Soviet army and their tanks, Stalin and Russian Communist propaganda, Berliners, cloth over printed boards, oblong 8vo, (1); loose b/w photographs of the Western Front post-First World War, including cemeteries; some b/w portrait photographs of military men and soldiers; cigarette silks; etc
Léa Lafugie (French, 1890-1972)Portrait of H.H. Bir Bikram Kishore Deb Berman, Maharaja of Tripura State in Eastern Bengal from 1923 to 1947, aged 20 signed, inscribed and dated 'Lafugie/Calcutta 1928' (lower right)pencil and watercolour heightened with white55 x 41cm (21 5/8 x 16 1/8in).Footnotes:There is a later inscription on the backing board that reads as follows:H.H. Bir Bikram Kishore Deb Berman.G.B.E K.C.S.I.Maharajah of Tripura State. Eastern BengalPainted in Calcutta, in the 20th year of his life, & presented by him to Col. Owen C Pulley his guardian & later his Chief Staff Officer. H.H. was the ruler of one of the most ancient States in India & rendered immense services to the Crown during the 1935/45 war. He held the rank of Colonel in the British Army & held many other distinctions. H.H. died at Agartala – the capital of his State in 1946. Owen.C.Pulley. Col.16/Sept/49.The artist was a distinguished French lady who painted under the name of 'La Fougie'.For further information on this lot please visit Bonhams.com
Eduardo Laplante (French/Cuban, born 1818), after Leonardo Barañano'El Valle del Yumuri: Vista gral tomada dese El Potrero del in Ingenio Sn Sebastian - (Mtamzas)', Cuba hand-coloured lithographpublished by Litografia del Gobierno Muralla 70 - Habanasheet 53.9 x 78.8cm (21 1/4 x 31in).unframedFootnotes:French born Eduardo Laplante moved to Cuba some time around 1848 and took up residency in the capital city of Havana. It was here that he set up his lithography studio and produced prints after paintings of rural and urban life throughout the Caribbean, providing a fascinating and detailed insight into life in the region during this period. 'El Valle del Yumuri: Vista gral tomada dese El Potrero del in Ingenio Sn Sebastian - (Mtamzas)' forms part of Laplante's series 'Isla de Cuba Pintoresca' after paintings by Leonardo Barañano.For further information on this lot please visit Bonhams.com
Eduardo Laplante (French/Cuban, born 1818), after Leonardo Baranano'Cienfuegos: Vista general tomada dese la punta de Revienta-cordeles', Cuba hand-coloured lithographpublished by Lit de Fanjul Ca Empedrado 67. Habanasight 40 x 68cm (15 3/4 x 26 3/4in).unframedFootnotes:French born Eduardo Laplante moved to Cuba some time around 1848 and took up residency in the capital city of Havana. It was here that he set up his lithography studio and produced prints after paintings of rural and urban life throughout the Caribbean, providing a fascinating and detailed insight into life in the region during this period. 'Cienfuegos: Vista general tomada dese la punta de Revienta-cordeles' forms part of Laplante's series 'Isla de Cuba Pintoresca' after paintings by Leonardo Barañano.For further information on this lot please visit Bonhams.com
OAKELEY (RICHARD BANNER)Sculpture and stairs at the entrance to the garden of Hoysaleswara Temple, Halebidu, Karnataka, salt print, mounted with small loss at one corner, image 285 x 225mm., c.1856Footnotes:Richard Banner Oakeley (1834-1914) travelled in 1856 to photograph the great Temples of Halebid, at Dwarasamudra which flourished as a Capital of the Hoysala Empire during the twelfth and thirteenth century. In discussing the difficulties he faced in taking his photographs he noted that 'a considerable portion of my apparatus was broken in the over-land journey, our servants were all ill, many at the same time with rheumatic fever, and moreover, this was my first attempt at photographing in a hot climate. I was compelled to to reject the formulae I had used in England, and adopt such as residents in the country found to succeed, or discover new ones for myself'.Provenance: Kanwardip Gujral; his sale, Bonhams, 9 April 2008, lot 155.For further information on this lot please visit Bonhams.com
A weathered cast composition stone two sectional sun dial with circular fluted pedestal beneath a square top and circular dial with pierced gnomon, 70 cm high approximately, together with a further weathered composition stone two sectional bird bath of circular form raised on a cylindrical column with doric capital, 79 cm high (2)
Erik Nitsche (Swiss, 1908 - 1998) "Marina San Gorg in Malta" Signed lower right. Original Mixed Media 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 for the Malta Europa 1987 Modern Art - Architecture stamp issued April 15, 1987. The strategic position of the Maltese Islands, situated at the crossroads of Europe and the Islamic World, is reflected in its overall architectural character. The synthesis of these two cultures provides the basis for the Maltese architectural and cultural identity. With the arrival of the Knights of St. John of Jerusalem in the sixteenth century, the introduction of both the massive fortifications of European royalty and the intricate elegance of Islamic design were wed. The architectural culmination of this union can be seen throughout the islands, and especially in the old city of Valletta, Malta's capital. Valletta's structures contrast sharply with the modern designs championed by native-born Maltese architect, Richard England. England has been in the forefront of Malta's modern architectural movement during the past twenty years. He has designed and built most of Malta's modern buildings. This artwork depicts England's Marina San Gorg Apartments built in 1981. It relects the synthesis of Malta's architectural heritage with modern design concepts. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10852)
Quantity (21) of Capital Transport (mainly) BOOKS, mostly on London buses, some on the Underground, and including 'RT' by Ken Blacker (3rd ed. 1986), 'Routemaster', volumes 1& 2, 'The London Trolleybus', volumes 1 & 2 and 'London Trolleybus Depôts', parts 1 & 2. In very good to excellent condition. [21]
HIROSHIGE ANDO (1797-1858), Toto meisho: Takanawa yukei, (Abendlicher Blick auf Takanawa von berühmten Orten in der östlichen Hauptstadt), Holzschnitt, in Wildseidenstoff-Passepartout montiert und hinter Glas gerahmt, gesamt 35x47 cm. AUS DEM NACHLASS VON ALFRED UND GISELA DIENST| HIROSHIGE ANDO (1797-1858), Toto meisho: Takanawa yukei, (Evening view of Takanawa from famous places in the eastern capital), woodblock print, mounted in a wild silk mount and framed behind glass, total 35x47 cm. FROM THE ESTATE OF ALFRED AND GISELA DIENST
A.C. Weatherstone (19th/20th century)Feeding the pigeonsSigned, watercolour, 61cm by 33.5cm, in a decorative Regency style gilt frame Condition report: Some fading to the watercolour. One small patch of foxing to the sky. Frame with some loss to the left-hand capital. Other wear and minor edge chips.
dating: Late 19th Century provenance: Germany, Straight, double-edged blade of hexagonal section at the forte featuring, on both sides, a long cartouche with an Arabic writing featuring remains of gilding. The rest of the blade of lozenge section, with pointed tip. Beautiful, silver-and gold-inlaid quillon of typical shape with quillons bending downwards and parallel to the blades, the external borders lobed and ending in pierced cusps. The geometrical and floral motifs alternatively in gold and silver. On both sides, at the center of cross-guard, a silver-inlaid cartouche with a writing inside a frame with a rosette. Grip with fish-skin covering, enlarged at the center. Fine disk-shaped pommel decorated en suite with the iron quillon, richly inlaid in gold and silver en suite with the other one and with a central cartouche. The sword draws inspiration from the small group of Spanish-Moresque samples survived up to nowadays of the late Nasride era (1238-1492 circa), when Grenada was the capital. The writing on the blade, 'Al-Kamil Sayf ad-Din Shaban', is the name of the Mamluk sultan of Egypt in charge in 746-747 (1345-1346 Gregorian calendar). An elegant and fine sword - a perfect surrogate to one of the unobtainable original pieces belonging to only few museums all over the world. length 105,3 cm.
Bank of Exchange & Co-operation, 1 Penny, dated/serial numbered 1879, signature of C. Wetum, with the address listed as ‘Dark Street, Bush Town, Founded by Adam & Eve’, and the text ‘Immense capital deposited in the vaults, of which every member has a special key’ and promising ‘to Preserve and Protect on demand the Morals of the Rising Generation’, with a crowned vignette entitled ‘The Fig Leaf Period’, showing an African man and woman and several spears, slightly ragged edges, tape strengthening and repairs on reverse, about fine and very rare Outing unlisted £300-£400 --- This note probably refers in some way to the Zulu War which began in 1879. It seems likely was produced by a liberal individual or group who were morally opposed to the war. It is unclear whether the vignette refers to the innocence of the Zulu, or the supposed celibate military system, or something else entirely.
§ Rupert Shephard (British 1909-1992) Tobacco Plants, Oakley Gardens, Chelseasigned and dated 'Rupert Shephard 1946' (lower left)oil on canvas44 x 39cm Provenance:With Sally Hunter Fine Art Ltd., LondonFootnote: Born to a Quaker mother and an engineer father, who also happened to be a keen amateur artist, Rupert Shephard is principally remembered as an exceptionally gifted painter and printmaker and as one of the last of an accomplished group of artist-teachers to emerge from the Slade School during the 1920s. After studying under the famously formidable tutelage of Henry Tonks at the Slade School of Art, between 1926 and 1929, Shephard became a schoolmaster at Raynes Park County School, though he continued to paint and was often found sketching and painting in music halls and pubs across the capital. It was around this time that Shephard began exhibiting alongside the London Group, at both the Wertheim Gallery and the Coolings Gallery. Whilst continuing to exhibit with the London Group throughout 1937 and 1939, Shephard also exhibited alongside founding members of the Euston Road School - William Coldstream, Rodrigo Moynihan, Claude Rodgers and Victor Pasmore. Inscribed ‘1946’, the present lot dates from Shephard’s most fertile and successful years as an artist. Increasingly influenced by his Euston Road Group contemporaries, Shephard’s work of this time assumed a markedly painterly, rhythmic and tonal character.
Guckkastenblatt BerlinBlick auf die Stadt mit ihren Befestigungsanlagen, Kirchen und dem Schloss, unter der Darstellung und in der Platte bezeichnet "Vue Perspective de la Ville de Berlin Capital du Royaume de Prusse. ...", erschienen bei Huquir in Paris, kolorierter Kupferstich auf Bütten und auf Karton kaschiert, um 1760, teils angeschmutzt, Darstellungsmaße ca. 23,5 x 40 cm, Blattmaße ca. 27 x 43 cm.
Italian school, mid-15th century.Fragment of a cantorial capital letter.Mixed media on parchment.Measurements: 13 x 10.5 cm.Miniature capital letter from a cantorial leaf. It is the letter "U", and shows a representation of a choir of singing monks in front of a lectern. They have their heads raised and are dressed in white robes. A large volume of chanting opens above the lectern. The size of the scroll was large enough for the entire choir to read the musical notes from a distance. Gold leaf predominates in this fragment of miniated parchment, as do Gothic pink and cobalt blue, two colours that together with gilding were the most commonly used during the Middle Ages and the Renaissance in Italian and Spanish codices.
Italian school, 15th century."Saint John the Evangelist".Mixed media on parchment cut out and glued to black card.It probably comes from a Gothic cantoral.Measurements: 16 x 11.5 cm; 20 x 14.5 cm (total).This painting of Saint John the Evangelist probably comes from an Italian Gothic cantorial, being a representation that decorates an initial ("I") of a codex or illuminated book. The Evangelist is recognisable by his typical physiognomic features: beardless, with wavy hair and a youthful appearance. He wears a long talar tunic and a red cloak that crosses in front of his body and is held at the left shoulder, creating a subtle play of folds. St John holds a closed book in his left hand, alluding to his status as an apostle and evangelist, and a chalice in his right. The full-length figure stands against a gilded background, decorated with scrolls and topped with sinuous acanthus leaves, which form the ends of the "I". The vegetal decoration based on acanthus leaves and scrolls, as well as the predominance of gold and Gothic pink, are characteristic elements of medieval cantorials, in which the capital letters focused the ornamental attention.
A fine Indian Mutiny pair awarded to Captain N. E. B. Turnour, Royal Navy, who was wounded at the storming of Fort Serapequi, Nicaragua, in 1848; served in H.M.S. Cressy during the Baltic Campaign; and then with H.M.S. Pearl’s Naval Brigade during the Great Sepoy Mutiny. In charge of the Pearl’s Guns, Turnour participated in all of the Naval Brigade’s actions, was wounded, and for his services was several times Mentioned in Despatches and advanced Commander at the specific request of Captain Sotheby. He later commanded H.M.S. Clio on the ‘Gunboat Frontier’ of the Canadian Pacific Coast, 1864-68, bringing peace and administrating justice during the lawless gold-rush period Baltic 1854-55, unnamed as issued; Indian Mutiny 1857-59, no clasp (Commr. Nichs. E, B, Turnour. Pearl.) pawn-broker’s mark to obverse of first, and therefore this medal probably added for display purposes, minor edge nicks, good very fine (2) £2,400-£2,800 --- Provenance: George McIlroy Collection. Nicholas Edward Brooke Turnour was born in Chichester, Sussex, in 1828, the sixth child of Reverend the Hon. Edward Turnour, and the grandson of the 1st Earl Winterton, sometime Speaker of the House of Commons. He entered the Navy in 1843, and was wounded when Midshipman of H.M.S. Alarm, at the storming of Fort Serapequi, Nicaragua, in 1848. He became a Lieutenant in 1849, and served in H.M.S. Cressy during the Baltic campaign. Posted to H.M.S. Pearl on 26 December 1855, Turnour served during the Great Sepoy Mutiny in command of that part of Pearl’s Naval Brigade which formed the first ‘Naval Horse Artillery’. He commanded the guns during the attack on the village of Bustee on 1 June 1858, and again during the attack on the village of Dhebrahia on 1 September 1858. During the attack on the rebel camp at Jugdespore on 26 October 1858 he commanded the party of 57 seamen and marines, armed with two twelve pound howitzers and a rocket tube, and then took part in the affair at Toolespore on 23 November 1858, where he commanded the horsed twelve-pound howitzers and a rocket battery in support of the 53rd Foot. Finally, at the battle of Sohunpore on 26 December 1858, on a rapidly changing front the Naval Battery under Turnour ‘returned fire with such precision and quickness that the enemy were silenced in half an hour’. Turnour was promoted Commander in 1858, this promotion being done under the less than normal circumstances of the Mutiny. The Pearl muster book is noted, ‘On the discharge of these officers (6 June 1858) a letter was received from the Admiralty authorising their being borne as additional Commanders from the date of their commission as such’. The original letter of recommendation from Captain Sotheby, R.N., Commanding Pearl’s Naval Brigade states: ‘Camp Bustee, 22 June 1858. Sir, I have the honour to acquaint you, for the information of my Lords commissioners of the Admiralty, that a portion of the Naval Brigade under the charge of Lieutenant Turnour, and the marines under Lieutenant Pym R.N. were engaged in a very creditable affair on 9 June in driving the enemy out of Amhora, when one party was posted in the village and fort, and the other in a long a belt of bamboo jungle and a large house at the entrance. I beg to recommend both these active officers, then suffering from sickness, to their Lordships notice, with the enclosed report. Mr Foot Midshipman, was also present with the guns.’ For his services with the Naval Brigade during the Great Sepoy Mutiny Turnour was several times Mentioned in the Despatches of Captain Sotheby, R.N., an Colonel Rowcroft, specifically for: The attacks on Railbundpore and Phoolpore, 21 February 1858. The attack on Fort at Ichoura, 1 March 1858. The attack on the Fort at Belwar, 9 March 1858: ‘Our guns, under Lieutenant Turnour, opened out at about 350 yards’. The attack on Thamoulee, 22 April 1858: ‘Lieutenant Turnour, who had been in six actions with the Brigade, was in charge of the guns, and made capital practise.’ The attack on Puchawas, 29 April 1858: ‘Turnour in charge of two guns.’ The attack on Hurreah, 18 June 1858. and The attack on Sohunpore, 28 December 1858: ‘Lieutenant Turnour, an officer of much ability and previously wounded, was in charge of the guns, the precision of their fire was the admiration of all.’ Advanced Captain, Turnour subsequently commanded H.M.S. Clio on the Pacific Station from 5 July 1864 to 1868, and after a voyage via the Falkland Islands, the Straits of Magellan, and Honolulu, spent most of this period patrolling the ‘Gunboat Frontier’ of the Canadian Pacific coast - the gold rush at the time, in an area with no civil authority, had made this area particularly lawless. An example of the ‘Gunboat Diplomacy’ that Turnour engaged in is evident from a report that he sent to the Lords Commissioners of the Admiralty on 24 January 1866: ‘On my return from Mettah I put into Fort Rupert on the 22nd of December where I came into contact with the Indians on account of some murders which had been committed there. The Indians refused to comply with my request to have the murderers given up. They then threatened to fire upon my men and made use of the most warlike demonstrations. I punished them by burning their Ranch destroying their canoes and whisky stock. I took several prisoners.’ Clio Channel and Clio Bay off the Canadian coast were named for the ship, and a small island off the central British Columbia coast is named Turnour Island. Amongst Turnour’s crew in the Clio was the young Midshipman (and future Admiral) Lord Charles Beresford. Turnour returned to the U.K. in H.M.S. Clio on 18 July 1868, and died in Torquay, Devon, on 10 January 1870, aged 42. Note: A single Baltic Medal, contemporarily engraved ‘Lieutt. N E B Turnour, H.M.S. Cressy’, was sold in these rooms in April 2001. Sold with copied research.
Book of Hours, 14th/15th century, 42 leafs, one illuminated manuscript, in Latin, on vellum, later binding, 19cm x 13cmManuscript on vellum, in Latin, 42 leaves (last page blank with inked lines), not including blank modern flyleaves.Text on single column, 16 lines ruled in pink ink, gothic textualis semi quadrata in brown ink, some lines rubricated, regular punctuation. Some ligature in dei, capital letters mainly colored alternate in red and blue, a few enriched with human expressions or flourish interlining. Illuminated miniature on fol. 39 with capital letter gilt historiated with foliating motif in blue and red paint, embedded in richly blossoming decorations along three borders. Very wide and fresh margins, some later marginalia and notes on a few leaves. Internal brown stain on fol. 25, some very light foxing and browning, a few wormholes, otherwise in very good condition. The manuscript comes in two separate parts as the binding got severely damaged along the spine, not affecting any of the leaves. Later ink decorated wrappers on cardboard, 8vo (190x130 mm), (text 165 x 100 mm), Northern Europe, [14th / 15th century]. Devotional work including the Septem Salmi Penitentiales, the Pater Noster, prayers for the dead, hymns, orationes, litanies. The illustrated miniature inaugurates the section of prayers dedicated to the veneration of the Virgin Mary, as clearly announced by the two rubricated lines in the central part of the text.Litanies: each line begins with a 1-line initial "S" alternating red and blue; the names of the Saints are written on the same line as "Or[a pros nobis]" but are separated from it by line fillers or alternating bands of the same colors of the initials.
WNAI - A JACOBEAN STYLE CARVED OAK IONIC COLUMN TABLE LAMPEarly 20th Century, with imbricated column on plinth carved with mask ornament on stepped base, with conical shade, 92cm high (excluding fitment) and 111.5cm high overallCondition report: Missing a bun foot and another with partial loss. Some shrinkage between joins, chips, splits and dents commensurate with use and age, including a small split to the section at the base of the column and two losses to the ring turned socle of the column.Chips to the details of scroll of the column’s capital. Loss of definition to the column capital at the back. Dirt and dust. Will need rewiring for electrical use.
WNAI - MESSENGER: A VICTORIAN GILT AND PATINATED BRONZE TABLE LAMP; TOGETHER WITH ANOTHER (2)Late 19th Century, with global etched amethyst tinted glass shade and flue above the burner, marked ‘MESSENGERS PATENT DUPLEX No.2’, above a Corinthian column on plinth base mounted with Bacchic masks, 110.5cm high, the second, as featured in Withnail and I, mounted with gilt-metal sun masks, with conical shade, 66cm excluding fitmentCondition report: The base with tarnishing, dirt and dust. Some oxidisation to the gilding on the mask mounts in particular and recesses of the capital. Some small losses to the patination of the column in areas. Dirt and dust to glass. One loose sun mount on base of other.2 small chips to the top rim of the ball shade
8th century AD. A near complete military belt set of twenty-two elements, comprising: an openwork hinged buckle with a central foliage motif, three pierced lugs to the reverse; eleven openwork rectangular belt stiffeners with a pair of long-eared quadrupeds; ten bigger openwork belt stiffeners with four long-eared quadrupeds; mounted in a custom-made lined display case. Cf. Daim, F., Die Awaren am Rand der Byzantinischen Welt, Innsbruck, 2000, pp.299ff., belts from Micheldorf-Kremsdorf; pl.2, belt from Cataj, Slovakia. 2.75 kg total, buckle: 60mm long (box: 90 x 18cm) (2 1/4 (35 1/2 x 7)"). Tagawa collection, Tokyo, Japan, before 1986. Accompanied by an archaeological expertise by military specialist Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11071-183988. The belt is of composite type, decorated with scrollwork in Byzantine style. Many authors discuss the possibility these belts were produced in the Eastern Roman capital or if they were made in the workshops of the Avar Khaganate, maybe with Roman matrices for producing sheet ornaments. The Vrap Belt, divided between the MET, the Archaeological Museum of Istanbul and the Walters Art Gallery of Baltimora, represents a similar example of artistic melange between the Nomad Style of the Avars and the foliage and openwork ornaments of the Eastern Roman Empire. [22] Very fine condition.
8th-9th century AD. A gold belt hole guard of crescentic form, decorated with chip-carved palmette motifs, three attachment pins to the reverse. Cf. Brown, K.R., Kidd, D., Little, C.T., From Attila to Charlemagne, Arts of the Early Medieval Period in the Metropolitan Museum of Art, Yale, 2000, p.175, figs.15.13, 15.14, for comparable mounts from the Vrap treasure. 5.51 grams, 20mm wide (3/4"). Collection formed in the 2000s. Property of an English gentleman. The mount was probably part of a composite belt, decorated with scrollwork in Byzantine style. Scholars debate whether these belts were produced in the Eastern Roman capital or if they were realised by workshops of the Avar Khaganate, possibly with Roman matrices for producing sheet ornaments. These horseshoe-shaped mounts (called hole-guards) were used to reinforce the adjustment holes in the belt. [No Reserve] Very fine condition.
17th-18th century AD. A gold D-section annular band, the outer face engraved with a frieze of floral and foliate forms and a stylised skull, highlighted in niello, the inner hoop inscribed: 'A true frends remembrance', and a capital letter 'R' in a shield. Cf. The Portable Antiquities Scheme Database, id. KENT-6C2FB6 and NMGW-4AB918, for comparable inscriptions and styles; cf. id. GLO-82D866, for a ring with similar inscription and stamped 'R', dated 1650-1750, and GLO-5321BC, dated 1650-1700; cf. The British Museum, museum number AF.1342, for this mark on a 17th-18th century ring, the mark believed unidentifiable in standard works of reference. 1.93 grams, 19.10mm overall, 16.95mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (3/4"). UK antiques market between 1974-1985. From the Albert Ward collection (part 2), Essex, UK. The traditional practice of bequeathing rings belonging to the deceased to the family and friends they left behind was gradually replaced in the 16th and 17th centuries, when it became preferable for the deceased to leave a sum of money with which memorial, commemorative or mourning rings could be purchased. In the later part of the 17th century, such rings were distributed at funeral services, where they were worn in memory of the deceased. Memento mori inscriptions and popular devices such as skulls, crossbones and hourglasses became fashionable on jewellery and in print, prompting the reader or viewer to ponder the brevity of life and the necessity of preparing the soul for death. [No Reserve] Fine condition, with remains of enamel.
Frederick HornemanTHE JOURNAL OF FREDERICK HORNEMAN'S TRAVELS FROM CAIRO TO MOURZOUK, THE CAPITAL OF THE KINGDOM OF FEZZAN, IN AFRICA. IN THE YEARS 1797-8London: Printed by W Bulmer for G & W Nicol, 1802FIRST EDITION, 4to, iv + xxvi + 195pp, 3 maps of which 2 fold out, half bound with marbled boards, front board loose, brown discolouration in proximity of leather, foxing and age toning in prelims, pencil note on one page, last third of text pages age toned, last 10 pages with foxing; one folding map with 2cm tear at hinge and a short tear at a fold intersection, the other folding map with 6cm tear at hinge and a short tear at a fold intersectionPROVENANCEJürgen Witt Collection
A quantity of books including The Outline of History, HG Wells, Turner, Andrew Wilton, Old Reekie, A. Alpin Macgregor, The Capital of Scotland, Moray McLaren, further paperback books and loose engravings of Notable 18thc personalities including Frances Braidwood, cabinetmaker, Hamilton Bell and John Rae, Hugh McPherson, Major Andrew Fraser etc. (a lot)
Corgi Original Omnibus Company - 18 boxed Limited Edition diecast model buses from Corgi OOC. Lot includes #43605 Palatine II 'Capital Citybuses'; #44106 Optare Solo 'MK Metro Ltd'; #43610 Northern Counties Palatine II 'Northumbria Motor Services Ltd' and similar. Models appear to be in Mint condition and majority appear to have certificates, presented in Very Good - Excellent boxes storage wear. (This does not constitute a guarantee)
Pair of Old Paris vases, mid-19th century.Enamelled porcelain.Measurements: 37 cm. high.Pair of enamelled porcelain vases that follow models close to the Sèvres manufacture. The fronts are decorated with female portraits inscribed in cartouches, while the backs are decorated with scenes inspired by Chinese landscapes. The stippled handles are surmounted by winged female busts.Paris Porcelain, also known as Old Paris, is a name for the production of a number of smaller manufactories established in Paris from the last quarter of the 18th century to the end of the 19th century. The first factories appeared around 1770, following the discovery of a kaolin deposit in Limoges. During the 18th century, the so-called Paris porcelain was that made and decorated in Paris, although in the 19th century it also included pieces made in the provinces and decorated in the capital. Production would be homogeneous in all the factories, with good kaolin paste and gilt decorations, used with royal permission, although it would not be Sèvres gold until the French Revolution, when the monarchy disappeared and with it the royal privileges of the crown factories. It was precisely the date of the Revolution that marked the beginning of the expansion of Paris Porcelain; production increased, with pieces following the stylistic and typological models of Sèvres, important technical improvements were achieved and a new and thriving clientele was supplied: the bourgeoisie. Following the Sèvres models, coloured backgrounds (dark blues, browns, blacks, yellows, oranges, etc.), gilt motifs and figurative decorations of pictorial quality dominated. The influence of the Louis XIV style was also important in these factories in the 19th century, not only in the decorations but also in the typologies.
Four Old Paris vases, mid-19th century.Enamelled and gilded porcelain.Measurements: 29 cm. high.Four vases in enamelled porcelain, with cartouches in which mythological scenes and landscapes are represented in polychrome on gilded backgrounds. Round effigies inspired by Greek korai serve as handles. Paris Porcelain, also known as Old Paris, is a name for the production of a number of smaller manufactories established in Paris from the last quarter of the 18th century to the end of the 19th century. The first factories appeared around 1770, following the discovery of a kaolin deposit in Limoges. During the 18th century, the so-called Paris porcelain was that made and decorated in Paris, although in the 19th century it also included pieces made in the provinces and decorated in the capital. Production would be homogeneous in all the factories, with good kaolin paste and gilt decorations, used with royal permission, although it would not be Sèvres gold until the French Revolution, when the monarchy disappeared and with it the royal privileges of the crown factories. It was precisely the date of the Revolution that marked the beginning of the expansion of Paris Porcelain; production increased, with pieces following the stylistic and typological models of Sèvres, important technical improvements were achieved and a new and thriving clientele was supplied: the bourgeoisie. Following the Sèvres models, coloured backgrounds (dark blues, browns, blacks, yellows, oranges, etc.), gilt motifs and figurative decorations of pictorial quality dominated. The influence of the Louis XIV style was also important in these factories in the 19th century, not only in the decorations but also in the typologies.
A carved giltwood standard lamp: modelled as a classical-style column with composite capital; the main column incised with flowerheads, leaves and tendrils; square base headed with patera and lower stepped square plinth terminating in four ebonised paw-style feet (141cm high including brass electrical fitting)
A very fine and large pair of ormolu mounted variegated brown and rouge marble pedestals; the outset square marble tops (25.5cm square) above an ormolu ionic capital and slightly tapering marble column leading to a further ormolu mount decorated in low relief with stylised flowerheads within repeating ovals, on square, stepped marble plinth base (some restoration) (121cm high)
Rouault,G.: Miserere. ╔Mit 57 (st. 58-es fehlt Taf.8) Original-Aquatinta-Radierungen von G. Rouault╗ (Aquatinta und Zucker-Aquatinta über Heliogravüren von Tuschezeichnungen, überarbeitet mit Kaltnadel, Roulette, Polierstahl u. a.), meist in der Platte monogrammiert und datiert 1922 bis 1927. Paris, Éditions de l'Étoile filante, 1948. Gr.-Folio (68 x 52 cm). [130] (teils w.) Bll. Lose Lagen in Original-Halbpergament-Mappe mit goldgeprägtem Rückentitel und Messing- Schliessklammer. (Gebräunt, etwas fleckig, unteres Kapital leicht bestossen). Monod 9966 - Chapon, Rouault, Nrn. 54 bis 111. - Chapon, Livres, S. 74 - Rauch 156 - Hogben/Watson 72 - Thiem 159. - Eines von 425 nummerierten Exemplaren (GA 450). - Während des Krieges 1914-18 empfing der Künstler die ersten Anregungen zum Miserere, einem graphischen Zyklus, der 1917 begonnen, zehn Jahre später vollendet, aber immer wieder aufs neue überarbeitet und erst 1948 veröffentlicht wurde. Das Werk sollte ursprünglich im Auftrag von Ambroise Vollard in zwei Teilen als "Guerre" und "Miserere" mit 100 Darstellungen und einem Text von André Suarès erscheinen. Durch Vollards Tod und den Zweiten Weltkrieg wurde das geplante Werk nicht vollendet. Ein Teil der Radierungen ging im Krieg verloren. 1947 konnte Rouault die Jacquemin- Abzüge aus dem Nachlass Vollards retten und sie der Verlagsgesellschaft L'Étoile Filante anvertrauen, die sie 1948 in der vorliegenden Ausgabe ohne den Text von Suarès mit einem Vorwort Rouaults veröffentlichte. - Unbeschnittenes Exemplar. - Schwach gebräunt, an den unteren Ecken leicht bestossen. - ╔Miserere Graphic Series.╗ With 57 (instead of 58-plate 8 missing) original aquatint etchings by Rouault (aquatint and sugar aquatint over heliogravures of Ink drawings, reworked with drypoint, roulette, polishing steel and others), mostly monogrammed and dated in the plate. - Loose leaves in original half-parchment folder with gold-stamped spine title and brass clasp.b (Browned, a little stained, lower capital slightly bumped).
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Street of Vieux Paris".Oil on canvas.Signed in the lower left corner.Size: 46 x 56 cm; 57 x 65 cm (frame).The Parisian district of Montmartre deeply inspired a young and promising Elisée Maclet, who had just landed in the French capital in 1906. Scenery such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the river Seine were masterfully immortalised by Maclet through a Post-Impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of Montmartre life in 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting which earned him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after the First World War, and he maintained this success for the rest of his career due to the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer Dosbourg bought some of his first Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which sometimes recall Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its exhibition "Paintings of the 20th Century"; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, in time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany and Venezuela, as well as a major exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Today, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
JOAN CARDONA I LLADÓS (Barcelona, 1877 - 1957)."Figures".Mixed media on paper.Signed in the lower left corner.Size: 39 x 31 cm; 63 x 56 cm (frame).With original label from the Sala Parés in Barcelona, 1966.Joan Cardona i Lladós offers us in this drawing an image totally representative of his style. Considered to be one of the most renowned and internationally famous artists, his elegant and glamorous Parisian illustrations gave the 'Cardona style' its name in the Belle Époque period. From 1900, when he settled in Paris, until 1914, when the First World War sent him back to Barcelona, he was one of the most renowned illustrators in the French capital. On this occasion Cardona depicts an elegant, naturalistic and spontaneous image, a faithful reflection of Parisian social life. Following his own particular style, Cardona sets the characters in the context of a café. In the foreground, a young lady dressed in the fashion of the time, wearing a feathered hat, chats at a table on which rests her purse, flowers and the cocktail she is having with an elegantly dressed gentleman. Behind the main figures are frames with photographs depicting different situations of Parisian life, a device typical of the modernist painter, who preferred to populate the backgrounds with secondary figures to provide a clear view of the leisure environments in which he set his scenes.Trained at the Escola de Belles Arts de la Lonja and at the Baixeras Academy in Barcelona, he furthered his studies in Paris, where he settled for several years. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. A painter and draughtsman, he developed an important activity in the field of illustration, collaborating with Spanish magazines such as "El Gato Negro" and "Hispania", and in the French magazines "Le Rire" and "Simplicissimus". His collaboration with "Jugend", the flagship magazine of Viennese modernism, the Jugendstil, stands out. During his Parisian period Cardona achieved international fame thanks to his pen drawings, characterised by the sharpness of the line and strong expressive values. On the contrary, in his painting he subordinates line to colour, with warm tones in his early years and cold ranges in his maturity. His paintings, of great expressive force and dense impasto, define the leading role of the woman, who is outlined against vibrant, almost abstract backgrounds, in a style that brings him close to Anglada Camarasa. In 1897 he was awarded a prize in the competition organised by the Mariana Academy of Lleida. He exhibited in Paris at the Salons d'Automne and the Salons de la Societé Nationale, obtaining the title of "societaire" at both. He took part in the International Fine Arts Exhibitions in Barcelona in 1907 and 1929. He is represented in the Musée du Luxembourg in Paris.
MIGUEL DE CERVANTES (Alcalá de Henares, 1547 - Madrid, 1616)"L'enginyós cavaller Don Quixot de La Manxa".Sant Feliu de Guíxols: Octavi Viader, 1936.Guarro paper.2 vols.Copy no. 19. Print run of 560.Measurements: 32 x 24,5 cm.Beautiful 1930s Catalan edition of "Don Quixote", in two volumes, with rich Renaissance-style decorations, in bright colours, on the title page, at the beginning of the chapters and in the capital letters.
RAMÓN DE ZUBIAURRE AGUIRREZÁBAL (Garay, Vizcaya, 1882 - Madrid 1969)."Shelling the corn".Oil on canvas.Signed in the lower right corner.Provenance: Acquired by the present owner from a private collection in Neguri, a district of Gecho where the great Basque bourgeoisie traditionally resided.Measurements: 75 x 95 cm: 95 x 114 cm (frame).The solemn Basque mountains are outlined in the distance, wrapped in soft blue mist, and in the foreground an old couple shelling corn, filling large wicker baskets. Following a ritual they have been doing for almost a century, their hands act on their own while their thoughts fly back to the past. This is expressed in their wiry, nostalgic faces, in those mouths stuck in the rictus of a smile, as well as in the twinkle in their small eyes. Behind them, wide, sown fields spread out in front of a large farmhouse with a white façade. Behind them, other houses and small huts lead towards the village, along a winding road that disappears at the height of a church. This is a type of composition that Ramón de Zubiaurre repeatedly favoured, on this occasion achieving a painting of great emotional intensity: the panoramic landscape of a region of the Basque Country, welcoming its most faithful inhabitants into its bosom, thus cradling them in their native land. The intense chromatic contrast, the tonal shifts of the amber dawn and the emphasis on drawing are characteristic of this artist, a renovator (together with his brother Valentín) of Spanish regionalism. This work is part of the boom in regionalism in Spain in the second half of the 19th century and the first third of the 20th century. An art with a Romantic, costumbrista heritage and a realistic and meticulous style was developed, which focused on depicting subjects, themes 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. Art, fundamentally in its pictorial aspect, thus became, in a certain way, a vehicle of expression capable of making regional peculiarities known to the rest of the nation.The brother of Valentín de Zubiaurre, also a painter and a deaf-mute like himself, Ramón de Zubiaurre always maintained a close relationship with his brother, and in fact both began their careers under the guidance of his sister Pilar, who was in charge of selling his paintings and organising numerous exhibitions, both in Spain and abroad, in the United States, Mexico, Argentina, Peru, Chile, Germany and other countries. Between 1903 and 1912 he was awarded a scholarship by the Diputación de Vizcaya, which enabled him to devote himself fully to painting. From the outset he was closely linked to the National Exhibitions of Fine Arts held in Madrid, as well as to the cultural life of the Spanish capital. In fact, he studied at the San Fernando Royal Academy, and in 1905 he completed his studies and moved to Paris to complete his training. He finally returned to Madrid, settling with his brother. In 1918 he was appointed a member of the Hispanic Society of America in New York, and in fact remained in the United States between 1940 and 1951. He is currently represented in the Reina Sofía Museum in Madrid, the Chicago Museum, the National Museum of Fine Arts in Buenos Aires, the Fine Arts Museums of Bilbao and Álava, the San Telmo Museum in San Sebastián and the Provincial Council of Gipuzkoa, among other collections.
VALENTÍN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque characters".Oil on canvas.Signed in the lower right corner.Size: 70 x 60 cm; 90 x 80 cm (frame).We see in this painting a magnificent double portrait that shows the mastery and modernity of its author, a Valentín de Zubiaurre who knew how to represent the people of his time, especially Basques and Castilians. Here he shows us a young couple, two villagers with smooth complexions and expectant eyes who watch in amazement at what is happening before them. The male figure, wearing a txapela, rests his hands on a stick while she offers him a bowl of pears and other fruit. This is a type of folkloristic representation in which Valentín de Zubiaurre was particularly outstanding, extolling popular types and Basque corners that were about to disappear. His art fits into the framework of the rise of regionalism in fin-de-siècle Spain and the beginning of the 21st century. Realistic and meticulous, Zubiaurre developed his own style within this trend, which can be seen in the attenuated palette, the pre-eminence of the line and the expressiveness of the physiognomic features.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. Of Basque origin although he settled in Madrid with his family, the young painter 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 disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum, where he made copies of the great masters. After their time in San Fernando, 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 were awarded a grant by 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 period of greatest success and recognition, both in Spain and internationally. By then, both were clearly differentiated stylistically: Ramón was more colourist and Valentín more classicist, although without falling into academic rigidities. After the war, the elder brother remained in Madrid, while Ramón moved to America, where he remained until 1951. Valentín 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, six years before his death. Valentín de Zubiaurre cultivated genre painting, focusing mainly on Basque and Castilian themes, and also dealt with landscapes. His masterly, intellectual painting is dominated by a certain melancholy that distinguishes his language from that of his brother Ramón. 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.
DARÍO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913)."Sant Genís dels Agudells".Oil on panel.Signed in the lower right corner.Size: 22 x 30 cm; 30 x 37 cm (frame).Darío de Regoyos is considered one of the great representatives of Spanish Impressionism. Within his themes, landscape painting was the most worked and explored field, feeling attracted by the luminous treatment inherited from the impressionists. This landscape, which depicts the parish church of Sant Genís dels Agudells in Barcelona, reveals a scene of great stillness enveloped in a warm, vitalistic aura.The son of a prominent architect then active in Asturias, Darío de Regoyos trained in Madrid at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip around Spain (he had already done so before with other Belgian companions), which was to be the seed of his famous "España negra" series, published in Barcelona in 1899. With this work, Regoyos was a pioneer in Spain of the so-called neoxylography or creative woodcut. While in the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Museo del Prado, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions, as well as in leading private collections all over the world.
JOAN CARDONA I LLADÓS (Barcelona, 1877 - 1957)."Figures".Mixed media on paper.Signed in the lower left corner.Size: 23 x 27 cm; 50 x 54 cm (frame).With original label from the Sala Parés in Barcelona, 1966.Joan Cardona i Lladós offers us in this drawing an image totally representative of his style. Considered one of the most renowned artists of international fame, his elegant and glamorous Parisian illustrations gave name to the 'Cardona style' in the Belle Époque period.In this mixed media, Cardona offers us a lively and dynamic scene, with intense and contrasting colours. In a Parisian promenade dominated by the green tones of the background of the trees, the intense blues, reds, blacks and whites of the suits and coats of the elegant and glamorous characters stand out. Nothing is left to the imagination, worked with energetic, almost violent and totally dynamic strokes, which do not require detailed description to reflect the movement and the sense of walking of the protagonists. At a formal level, the expressive treatment of the faces is also noteworthy, reflecting Cardona's prototypical Parisian style of painting.Trained at the Escola de Belles Arts de la Lonja and at the Baixeras Academy in Barcelona, he furthered his studies in Paris, where he settled for several years. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. A painter and draughtsman, he developed an important activity in the field of illustration, collaborating with Spanish magazines such as "El Gato Negro" and "Hispania", and in the French magazines "Le Rire" and "Simplicissimus". His collaboration with "Jugend", the flagship magazine of Viennese modernism, the Jugendstil, stands out. During his Parisian period Cardona achieved international fame thanks to his pen drawings, characterised by the sharpness of the line and strong expressive values. On the contrary, in his painting he subordinates line to colour, with warm tones in his early years and cold ranges in his maturity. His paintings, of great expressive force and dense impasto, define the leading role of the woman, who is outlined against vibrant, almost abstract backgrounds, in a style that brings him close to Anglada Camarasa. In 1897 he was awarded a prize in the competition organised by the Mariana Academy of Lleida. He exhibited in Paris at the Salons d'Automne and the Salons de la Societé Nationale, obtaining the title of societaire at both. He took part in the International Fine Arts Exhibitions in Barcelona in 1907 and 1929. He is represented at the Musée du Luxembourg in Paris.
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