JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Madrid, 1923)."Res; Marina with Oxen. Abstraction", c. 1908.Oil on canvas.Attached certificate of authenticity issued by Blanca Pons Sorolla (granddaughter of the artist). Nº BPS4694We would like to thank Blanca Pons Sorolla for her help in cataloguing.The word "Res" can be seen in the lower central area.Provenance: Elena Sorolla García (Daughter of the artist).Measurements: 10.5 x 13 cm; 31 x 34 cm (frame).The sketchy, almost abstract technique of this work indicates that it is a study by the artist, taken from life. This was a frequent exercise used by Sorolla, who tried to capture the luminosity and its reflection on the surroundings. This painting captures that essence, showing, as if it were the painter's sketches, a whole pictorial composition that is particularly reminiscent of the same one that the artist developed in his work "The Return from Fishing. Towing the boat", painted in 1984 and currently in the collection of the Musée d'Orsay in Paris. As early as his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending the drawing classes given by the sculptor Cayetano Capuz at the School of Artisans in the afternoons. Awarded a prize at the end of his preliminary studies at the Escuela Normal Superior, he entered the prestigious San Carlos School of Fine Arts in Valencia in 1879. During his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco in the Prado Museum. Two years later he achieved great success at the National Exhibition of Fine Arts with a history painting, which prompted him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, Sorolla left for Rome in 1885, spending several months in Paris before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", which was awarded a first-class medal at the National and the following year at the International in Chicago. This sensitivity would remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master would abandon the themes of unhappy children that we see in "Triste herencia", which had won prizes at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his more cheerful and pleasant works, with which he achieved international fame. In 1906 he held his first solo exhibition at the George Petit gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases intended to illustrate the regions of Spain on the walls of the Hispanic Society. Seeking to capture the essence of the lands and people of his country, Sorolla travelled around Spain between 1911 and 1919, while continuing to hold exhibitions. Incapacitated by an attack of hemiplegia in 1921, Sorolla died two years later, without seeing his great "Vision of Spain", which would not be installed until 1926.
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Palgrave (William Gifford). Narrative of a Year's Journey through Central and Eastern Arabia (1862-63), 2 volumes, 1st edition, London and Cambridge: Macmillan & Co., 1865, portrait frontis to first volume, folding map, hand-coloured in outline, four folding plans (correct as list), heavy spotting to endpapers, with consequent lighter spotting to one or two further leaves at front and rear of each volume, marbled edges and endpapers, attractive contemporary half-calf gilt-decorated spines with contrasting red and black morocco labels, very lightly rubbed (generally in very good condition), to spine of each, 8voQty: (2)Footnote: An accomplished Arab scholar, Palgrave visited the Rashidi capital Hayil and Riyadh, the Saudi capital, disguised as a Sirian doctor as well as Bahrain, where he was impressed by the level of social and religious tolerance, as well as Qatar. Palgrave's account of this state is perhaps the best 19th century description available.
Stark (Freya). Letters From Syria, reprinted, London: John Murray, March 1943, black & white portrait frontispiece, sketch map & 24 monochrome plates to the rear, previous owner inscription to the front endpaper, some light toning & spotting, original cloth in dust jacket, covers rubbed with minor tears to head & foot, 8vo, The Valley of the Assassins, and Other Persian Travels, reprinted, London: John Murray, June 1934, 31 monochrome illustrations plus 5 maps, bookplate & previous owner inkstamp to the front endpaper, some liht spotting throughout, publishers original green cloth, boards slightly rubbed & faded, 8vo, together with; Coulson James (Edith E.). Bologna, it's history, antiquities and art, 1st edition, London: Henry Frowde, 1909, 79 monochrome illustrations plus 2 maps, some spotting & toning throughout, all edges gilt, publishers original gilt decorated blue cloth in book box, 8vo, plus Tuohy (Thomas), Herculean Ferrara, Ercole d'Este (1471-1505) and the invention of a ducal capital [Cambridge Studies in Italian History and Culture], 1st edition, Cambridge: University Press, 1996, black & white illustrations, original cloth in dust jacket, large 8vo, and Chambers (D.S.), Individuals and Institutions in Renaissance Italy [Variorum Collected Studies Series], 1st edition, Aldershot: Ashgate Publishing, 1998, publishers original blue cloth, 8vo, plus other early 20th-century & modern Italian & European travel reference & British topography interest, including Buildings of England series, by Nikolaus Pevsner, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (5 shelves)
A pair of Edwardian silver candlesticks, Charles Westwood & Sons, Birmingham 1907, Corinthian columns of stepped loaded bases with beaded borders, one with later replacement silver coloured sconce (unmarked), each 13.5cm high (2)CR; NOTE; One sconce is a later silver coloured replacement which is not marked. Please see the additional images for illustration.Both examples show heavy denting and wear to bases. One example shows a large dent to the capital. There are several areas of splitting in both examples (see pictures). Both show scratching, general wear and loss of some loss of definition to detail commensurate with age and use. Both sconces are detachable, but there is difficulty in removing them. Both show blue-tack residue to the interior. Both show heavy wear to the fabric on the bases. Both would benefit from professional cleaning.
MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Dibuixant pintat" (Painted draughtsman), 20.2.1980.Mixed media (paint, gouache and charcoal) on paper.Signed, dated and titled in the lower margin.Work published in the artist's catalogue.Measurements: 37 x 27 cm; 53 x 39 cm (frame).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 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. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. 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 eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important 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.
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934)."Music hall", c. 1889.Pencil on paper.Work reproduced in:- MARÍA JOSÉ SALAZAR, Catalogue Raisonné; Pablo Gargallo (1881-1934), Drawings. Volume I, p. 180. Fig. 128.Signed in the lower right corner.Size: 32.5 x 20.5 cm; 69 x 56 cm (frame).Known for his sculptural work, Pablo Gargallo not only used drawing as a support for his three-dimensional work, but also as a means of personal and independent expression. An example of this is this drawing, probably executed in Barcelona, in which he shows several young people with their backs to the viewer, awaiting a spectacle that is outside the composition. Aesthetically, a strong stylistic influence of Catalan noucentisme can be appreciated. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, as in the case of the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects in an attempt to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Throughout his life, Gargallo developed two apparently opposing styles in parallel: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experimented with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Musée d'Art Moderne in Paris and the Reina Sofía in Madrid, among many others.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Silkscreen on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, to the desired and the necessary". This is a silkscreen belonging to the book by Eduardo Chillida made up of five etchings, three woodcuts, two relief silkscreen prints, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually 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 Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. 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.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually 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 Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. 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 Verde Antico and gilt metal mounted column, 19th century, with Corinthian capital above a vine entwisted shaft and square section plinth base, approximately 116cm highProvenance: Private collection removed from 9, Royal Crescent, BathCondition Report: Please note this is in a state of disrepair and with splits and cracks, chips and losses, and overall unstable, there is a crate of parts available with the lot - Dreweatts makes no guarantees all elements are present for a full repair, other elements may well be required and need to be sourced by the purchaser. The gilt metal areas with dirt and discolourationCondition Report Disclaimer
GEORGE HARRISON,late 1980s, a Jean Cotton 'West Point' shirt with embroidered 'The Travelling Wilburys' logo, large sized, owned by George Harrison,together with accompanying letter of authenticityThis shirt was given to Capital Radio and BBC Radio 1 DJ, Roger Scott, in the late 1980s by George Harrison.
A BONE APPLE CORER CARVED BY A BRITISH ARMY GUARD OF THE 20TH REGIMENT OF FOOT ON ST. HELENA, Dated 5 May 1821A bone apple corer engraved on the turned handle JAMESTOWN,, and 5 May 1821 within a wreath on one side and the emblem for the 20th Foot on the other, and with a motto below QUIS CUSTODIET, the blade inscribed in manuscript Longwood House, Saint Helena Island, May 1821 20th Regt. 6in (15cm high) in modern glazed oak display case with a silvered regimental button of the 20th Foot, 5 3/4in (14.5cm) long; 7 3/4in (20cm) high in case Footnotes:This apple corer was very probably crafted by one of Napoleon's guard to commemorate his death whilst in exile on the island of Saint Helena.After Napoleon's defeat at Waterloo in 1815, the British sent him to the island of St. Helena to live out his exile from Europe. The island is situated in the South Atlantic Ocean some 1,200 miles off the coast of Africa, and, at the time, was in the ownership of the East India Company. The inaccessibility of this location was partly chosen in order to avoid any escape attempts, as had been seen early in 1815 with Napoleon's successful escape from the Mediterranean island of Elba. Another precaution taken by the British was a personal military guard to accompany the existing garrison of 3,000 soldiers, along with six ships on constant patrol of the coastal waters, and an array of heavier ships moored off the capital, Jamestown. In 1819, the 20th Regiment of Foot arrived on the island and were assigned as Napoleon's guard at his residence, Longwood House. This item has been inscribed with the emblem of the 20th Foot and is also inscribed 'Longwood House', so we can say with confidence that this would have been crafted by one of his close guard. A further inscription 'quis custodiet' translates as 'who will guard', again making clear reference to the maker's position. Napoleon died at Longwood on the 5th May 1821. This date has been inscribed on the corer followed by the word 'vale', being the Latin for 'farewell'. On the day of his funeral, Napoleon's casket was carried by twelve grenadiers of his house guard.For further information on this lot please visit Bonhams.com
French School, 19th centuryPortrait of a French cavalry officer at the Battle of Smolensk, Napoleon mounted on white horse in the backgroundinscribed 'Prise de Smolinsky/Par la grande armée, en aout/1812' (lower left) watercolour and gouache 62.2 x 99.1cm (24 1/2 x 39in).Footnotes:Lieutenant of the Chasseurs à Cheval of the Imperial Guard at Smolensk, 1812This attractive work depicts an incident during Napoleon's fateful campaign against Russia during 1812. Having defeated the Russians in 1807 and come to an accord in the Treaty of Tilsit, relations between Tsar Alexander I and the French Emperor deteriorated in the following years. Russia resented the ban imposed on its exports of naval timber to Great Britain, was displeased by the establishment of a newly independent Poland and was deeply offended by Napoleon's rejection of the Tsar's sister as his second wife in favour of an Austrian princess. Renewed conflict was inevitable.Napoleon's army - 250,000 French troops and the same number of 'allies', mostly Poles and Germans - entered Russia on 22nd June 1812 and advanced steadily against two retreating Russian armies. Only relatively minor clashes occurred during the 350-mile advance to Smolensk, which was reached in mid-August. The Russians made a stand at Smolensk with Lieutenant-General Raevsky's Corps holding off the Emperor in a bloody two-day battle while the main Russian armies slipped away to fight another day. Napoleon continued his advance, fought the indecisive battle of Borodino on 7th September and occupied Moscow, but was forced into a disastrous retreat by the Russians burning their own capital and the exhaustion of his supplies. The Emperor's forces - about 20,000 survivors - left Russian on 14th December.The principal subject of the painting is an officer of the Chasseurs à Cheval of the Imperial Guard. This regiment of Light Cavalry, best known from the dramatic painting by Théodore Gericault in the Louvre, was a favourite unit of Napoleon's and he was often depicted in its Undress uniform. The regiment acted as the Emperor's mounted escort and is seen at far right following Napoleon's staff with the Emperor in front on a grey horse. Unusually for a campaign setting, the lieutenant is wearing Full Dress comprising leather breeches, dark green horse furniture and dolman and the scarlet pelisse.The Imperial Guard was Napoleon's Corps d'Elite of specially-chosen soldiers who were always reserved in battle to give the final shocking charge to break the enemy after the Line regiments had worn down the opposition. The background of the painting shows serried ranks of infantry and cavalry advancing against the city and the billowing gunpowder smoke of thousands of muskets and hundreds of cannon. The middle ground behind the mounted officer features troops from units of the Imperial Guard including from left to right - Grenadiers in bearskin caps, a Chasseur, a Polish Lancer, a Horse Grenadier and one of the Empress's Dragoons. Two Mamelukes of the Guard and a Gendarme d'élite appear under the horse and at far right Foot Artillerymen and a Dutch Lancer of the Guard are gathered round a fire.We are grateful to Dr. Andrew Cormack for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
FOOTBALL, MANCHESTER UNITED; a quantity of programmes for the 1958/59 season comprising sixteen United Reviews, also Manchester United v Capital B.S.C. Young Boys, Manchester City v Manchester United, Blackpool v Manchester United, etc, contained within a small red folder with Sellotape to the spine.
12 BOTTLES SPANISH AND PORTUGUESE RED WINEEspartero Rioja Reserva 2015; Legaris Roble 2019; Vina Arnaiz Roble 2019; VIna Alberdi Rioja Reserva 2016; Rioja Vega Rioja Reserva 2016; Cuatro Rayas Cuarenta Vendimias 2019; El Ilusionista Roble 2020; Beronia Rioja Reserva 2016; Mayor de Castilla Roble 2020; Pedras do Monte Cabernet Sauvignon Tinta Roriz 2018; Vega Real Roble 2019; Luis Vieira Montaria Reserva Capital 2018
22 Original Omnibus series buses and coaches. 3x 2 vehicle sets- Bridges & Spires set, Capital & Highlands set and Lancashire Holiday set. 2x Van Hool Alizee, Wallace Arnold and National Express. AEC Reliance, Oxford. Leyland Leopard, Londonderry & Loughswilly Railway. 2x Bristol L5G, North Western and London Transport. Leyland PS1, Birch Bros and a PD2, A1 Service. MCW Orion, Chesterfield. Weymann Trolleybus, Maidstone. Plus a Dennis Dart, Kingfisher Huddersfield. All boxed, minor wear. Contents VGC-Mint. £70-90
London's Lost Tube Schemes by Antony Badsey Ellis hardback book 320 pages Published 2005 Capital Transport ISBN 185414 293 3. Book in good sound condition and dust cover in good condition with label mark. Sold on behalf of the Michael Sobell Cancer Charity. 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
Solomonic column; Late 17th century.Carved, gilded and polychromed wood.The gilding and polychromy are missing.Electrified work.Measurements: 212 x 31 cm.The column presents a capital with the corresponding volutes taken from the classical Ionic order and the two lines of acanthus leaves that correspond to the Corinthian order, giving rise to the composite order, very much used in Roman architecture of Antiquity. The Solomonic columns have a carved decoration of stems and leaves accompanied by roses, highlighted in gold on a darker background, all along the shaft.The Solomonic shaft (with a particular spiral contour, which should be distinguished from the twisted column) is typical of Baroque architecture, inspired by the baldachin of St Peter's in the Vatican, designed by Bernini. It should be noted that both the name and the shape are related to Solomon's temple, which is supposed to have used them in this way, and to a relic of the temple preserved in St Peter's in the Vatican.
Spanish or Italian school; first half of the 18th century."Saint Augustine of Hippo".Carved, polychromed, stewed and gilded wood.It presents faults in the polychromy.Measurements: 41 x 11 x 10,5 cm.Saint Augustine of Hippo (Tagaste, 254, Hippo Reggius, 430) was a doctor of the Catholic Church, known, among other facts, for his writings, and for a legend: it is said that the saint was walking along the seashore, thinking about the Trinity; he met a beautiful boy, playing. When the saint asks the little boy, he replies that he was taking the water out of the sea to put it into the hole, to which Augustine replies that it is impossible. The child replies that it is more difficult for him to understand the Mystery of the Holy Trinity, revealing himself with this phrase as Jesus.The piece is placed on a wooden base that takes the form of an Ionic capital, which gives way to the base of the sculpture with a trapezoidal shape on which a design is established in the form of clouds on which the feet of the saint rest. The work is notable for the fluidity of the form, which the artist achieves through the curved line with which he has conceived the body, giving great dynamism to the sober figure of Saint Augustine of Hippo.
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778).Untitled.Etching.Size: 50 x 36 cm; 66 x 54 cm (passe-partout).MeasurementsPiranesi first arrived in Rome in 1740, and there he found an established market for the sale of views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
A George III Revival oak bureau bookcase, moulded cornice with dentil capital above a pair of glazed doors enclosing three shelves, flanked by inset fluted pillars, the projecting base with fall front enclosing a shallow well, small drawers and pigeonholes above two short and two long graduated cockbeaded drawers, swan neck handles, batwing escutcheons, skirted base, bracket feet, 218.5cm high, 109cm wide, 55cm deep
CD COLLECTION 'COMPILATIONS, BOX SETS AND THIN SLEEVE SINGLES'. A varied collection of around 900 x compilations, box sets and thin sleeved singles. Titles and artists include Pure Garage Classics, Doris Day - Its Magic, Classic FM Relax & Escape The No.1 Collection Of Smooth Classics, Greatest Ever Disco The Definitive Collection, The Ratpack Volume 1, Nationwide Mercury Prize 2004 Album Of The Year, The Trojan Story - The Label That Defined Reggae, Tony Bennett Duets An American Classic, Love Melodies On The Trumpet, The Very Best Of Electric Light Orchestra, Capital Gold Jazz Legends, The Soul Years Volume 1-11 and Chilled R&B Summer Classics. The condition of the collection appears to be excellent.
Peder Als (1726-1776)Portrait of Queen Louise of Hanover (1724-1751), first wife of King Frederick V of Denmark (1723-1766), canvas 78x64 cm, set in a capital antique gold-coloured frame, outer dimensions 97x85 cm. The portrait, signed in 1749, in a Rococo-esque style, is rare due to the absence of symbolism that illustrates Louise's royal status. This indicates that it was most likely intended for private use.
HANS J. WEGNER (Tønder, Denmark, 1914 - 2007).Set of six PP52 chairs.Oak wood frame, with cognac coloured leather upholstered seat.Measurements: 72 x 58 x 50 cm.This is one of the Round Chair models designed by Hans J. Wegner, specifically the PP52 chair. Like the author's emblematic PP501 chair, the PP52 combines craftsmanship and modernity in an exceptional way. Wegner presents a chair that values natural beauty, beautiful grain and flowing lines, whose geometric expressiveness is tempered by gentle curves.Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterised by a special emphasis on functionality. He began his training at a very young age, as an apprentice to the cabinetmaker H. F. Stahlberg. He soon discovered a special taste for the use of wood, and his work in the cabinetmaker's workshop enabled him to experiment with different types and designs. At the age of seventeen he completed his apprenticeship, although he remained in the workshop for a further three years until he entered the army. After his military service he entered a technical school and then the Danmarks Designskole, where he was taught by O. Mølgaard Nielsen, and the Academy of Architecture in Copenhagen. In the Danish capital he came into contact with the Furniture Exhibitions of the Carpenters' Guild, where he began to show his creations in 1927. During these years Wegner collaborated with master cabinetmakers such as J. Hansen, L. Pontoppidan, N. Vodder, J. Kjaer, A. J. Iversen, Moos and R. Rasmussen, and also with the most prominent Danish architects of the time, among them K. Klint, V. Lauritzen. O. Wanscher and M. Voltelen. The annual exhibitions would give the young cabinetmaker experience of what could be achieved with the combination of design and craftsmanship, which led him to devote himself fully to design. Already in his first pieces, Wegner showed his interest in the concept of "stripping old chairs of their outer style and showing them in their pure structure". Throughout his career, this designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. Today, his designs can be found in collections such as those of the MoMA in New York and Die Neue Samlung in Munich.
Pair of lamps, after 17th century models; early 20th century.Gilded wood, brass and marble base.Slight damage to the carving.Measurements: 72 x 10 x 10 cm (x2).Set made up of two lamps of identical structure made of carved and gilded wood. Each of the pieces has a black marble base with white veining and a square perimeter. On this base is the shaft of the lamps, which is very vertical, simulating the shaft of a column with a fluted finish. Both shafts are topped by a composite capital that combines the characteristic Ionic volutes with the acanthus leaves typical of the Corinthian order. Above the capitals is a gilded metal structure that rises to form two different channels from which the light bulbs, two in each lamp, hang.
Pair of columns-peana pps s.XIX.Polychrome wood emulating marble and gilded details.Measurements: 104 x 34 x 34 cm; 12 x 35 x 35 x 35 cm base.Pair of columns with the function of pedestals, with a cylindrical wooden shaft with a marble-like finish, topped with a gilded, synthesised Doric capital. Resting on a square base.
HANS J. WEGNER (Denmark, 1914 - 2007).Set of six PP52 chairs.Oak wood frame, with cognac coloured leather upholstered seat.Measurements: 72 x 58 x 50 cm.This is one of the Round Chair models designed by Hans J. Wegner, specifically the PP52 chair. Like the author's emblematic PP501 chair, the PP52 combines craftsmanship and modernity in an exceptional way. Wegner presents a chair that values natural beauty, beautiful grain and flowing lines, whose geometric expressiveness is tempered by gentle curves.Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterised by a special emphasis on functionality. He began his training at a very young age, as an apprentice to the cabinetmaker H. F. Stahlberg. He soon discovered a special taste for the use of wood, and his work in the cabinetmaker's workshop enabled him to experiment with different types and designs. At the age of seventeen he completed his apprenticeship, although he remained in the workshop for a further three years until he entered the army. After his military service he entered a technical school and then the Danmarks Designskole, where he was taught by O. Mølgaard Nielsen, and the Academy of Architecture in Copenhagen. In the Danish capital he came into contact with the Furniture Exhibitions of the Carpenters' Guild, where he began to show his creations in 1927. During these years Wegner collaborated with master cabinetmakers such as J. Hansen, L. Pontoppidan, N. Vodder, J. Kjaer, A. J. Iversen, Moos and R. Rasmussen, and also with the most prominent Danish architects of the time, among them K. Klint, V. Lauritzen. O. Wanscher and M. Voltelen. The annual exhibitions would give the young cabinetmaker experience of what could be achieved with the combination of design and craftsmanship, which led him to devote himself fully to design. Already in his first pieces, Wegner showed his interest in the concept of "stripping old chairs of their outer style and showing them in their pure structure". Throughout his career, this designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. Today, his designs can be found in collections such as those of the MoMA in New York and Die Neue Samlung in Munich.
A late War SA dagger, the double-edged blade marked with the 'RZM' logo and the maker code 'M7/85', possibly by the company Artur Evertz, the blade with etched and blackened wording 'Alles fur Deutschland', the handle with wooden grip, with enamelled circular insert with capital letters 'SA', also the German eagle with swastika, with scabbard, length of blade 21.5cm, total length 34cm.
Roman capital, 1st-2nd century AD.Marble.Measurements: 25 x 26 x 26 cm.In this Roman capital, which reinterprets the Greek Corinthian order, we can appreciate the characteristic upper line of protruding volutes, as well as the synthetic edges of the lower section and the incised vegetal growths in the centre. The schematisation seen in the leaves is a response to changes in Roman art as early as the 2nd century AD, which were aimed at greater schematisation due to the search for an art that was "eternal" and directed towards the afterlife, as advocated by religions such as Christianity. As a decorative element, the Roman capital occupies an important place alongside the plinths, spires and abacuses, with freer forms than the Greek orders in the interpretation of the craftsmen, although subject to canons and artistic tastes.
Roman column, 1st-2nd century AD.Marble.Provenance: private Spanish collection, early 20th century.Measurements: 200 x 22 x 22 cm.Complete shaft of a Roman column carved from a single piece of marble, dated to the 1st-2nd century AD. It has a straight profile, with a slight tapering towards the top, and a smooth moulding at the top, which would have served as a point of union with the capital. The column still has its base with a double torus.
Roman mosaic from the 2nd century AD.Opus tessellatum.Size: 105 x 127 cm; 116 x 141 cm (frame).A large Roman mosaic, dated to the 2nd century, depicting a donkey in movement, set in a landscape insinuated by floral buds among birds and a sun at the zenith. This is a common type of representation on the floors of the main rooms of Roman villas. With great delicacy, silver and amber colours are combined to give a certain sense of volume to the bodies. The art of mosaic came to Rome from Greece, and soon became a major industry, reaching previously unseen heights of quality. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were made from small pieces called tesserae (hence the name 'opus tessellatum'), cube-shaped pieces of calcareous rock, glass or ceramic of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the colour and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by events such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, encouraging the exodus of Greek and Roman masters to the new capital, thus laying the foundations for the famous Byzantine mosaic.
ARGENTINA, Argentine Park, Buenos Aires, 1828, a copper pass, unsigned, lyre between oak branches, parque argentino, rev. vauxhall and date within wreath, 32mm, 15.90g (W 1367; cf. D & W 88/320; cf. DNW 157, 1472). Good very fine £50-£70 --- The Argentine Park was inaugurated in 1827 in the city of Buenos Aires. It was the first public garden, in imitation of the great European public gardens, more in order to endow the country with a new institution than with the idea of profit. It was the antecedent of the Botanical Garden of Buenos Aires. The commercial society was formed with a capital of 100,000 pesos; being founding partners several English gentlemen baptized the park with the name Vauxhall”. Sold with further background
Salvador Dali. 1980. “Cabeza de Caballo Riendoâ€. Pendant on gilded bronze with fine gold representing a horse's head. Signed "Dali" below. Marked P / A (Proof Artist - artist proof). Dimensions: 30 x 30 x 20 mm. Weight: 26.68 g. Published by Kyle Capital Corp. Her Majesty the Queen of Spain at the Feria in 2000 wore this pendant. Sold with certificate from Kyle Capital Corp. Provenance: Count de la Carrera Mr Juan Gonzalez-Quiros - Spain - Period: Xxth - Sizes: H: 25 mm L 25 mm - Weight (K): 0,025kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI (1904-1989)
Original vintage travel poster issued by Carpati National Travel Office promoting tourism to Romania with a caption - What a good idea... A trip to Rumania! - features a fun illustration of a tourist in a chequered suit carrying a suitcase covered in luggage stickers and a camera around his neck, pointing at Rumania on the globe that doubles as his head. Romania is located in the Balkans ringed by the Carpathian Mountains with a Black Sea coast in the south-east, the country is known for Transylvania and Bran Castle associated with count Dracula, its capital Bucharest is the home to the Palace of the Parliament built during the rule of Communist dictator Nicolae Ceausescu. Good condition, creasing, tears, staining, tape marks. Country of issue: Romania, designer: Unknown, size (cm): 99x67, year of printing: 1960s
Original vintage travel poster issued by Carpati National Travel Office promoting tourism to Romania with a caption - Mamaia - The Pearl of the Black Sea - featuring a photograph of holidaymakers and beachgoers walking on the beach, sunbathing, resting in the shade of colourful parasol umbrellas, with hotel buildings in the distance. Romania is located in the Balkans ringed by the Carpathian Mountains with a Black Sea coast in the south-east, the country is known for Transylvania and Bran Castle associated with count Dracula, its capital Bucharest is the home to the Palace of the Parliament built during the rule of Communist dictator Nicolae Ceausescu. Acceptable condition, creasing, tears, staining, paper loss, tape marks. Country of issue: Romania, designer: Unknown, size (cm): 83x55, year of printing: 1960s
Original vintage travel poster advertising Paris. The poster features an illustration of Notre-Dame, one of the most iconic landmarks in the French Capital. The leafless branches of trees leaning into the left frame of the composition add to the gothic architecture of the Cathedral as well as to the sombre feel of poster overall. Buffet’s (1928 – 1999) expressionist style is visible in the bold confident strokes of black in the structure of the composition and even in the peculiar font chosen for his name and date at the top of the poster. It seems that we are capturing a glimpse of cold winter as the bridge above the Seine stands alone before Notre Dame. The colour palette is comprised of deep earthy browns and greens, juxtaposed against the blue sky. This poster was commissioned by The French Railway Company in 1963 to famous French painter Bernard Buffet to create a poster for the city of Paris. Very good condition, creasing. Country of issue: France, designer: Bernard Buffet, size (cm): 100x62, year of printing: 1963
A Scarce Volume Entitled Adolf Hitler 133 pages with over 200 tipped in photo plates (Black and White) and 5 colour reproduction of watercolours painting by Hitler. (The Large Folio is in Fair condition some shelf ware and several loose pages, staining from the staples) Along With A Two Page Article Entitled Berlin Misery (Life in the Once Proud Prussian Capital in 1947) The Sphere December 13 1947.
A collection of assorted silver, comprising: a pair Edward VII silver candlesticks, London, 1905, each on stepped and beaded square base, with fluted stem and Corinthian capital, filled, 15.5cm high; another candlestick, filled; two pepper mills; a silver-mounted dressing-table jar, the cover chased with putto; a silver-mounted dressing-table jar, engraved with a crest, a tea strainer and two silver and enamel brushes (qty)
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Trees before the Sacré Coeur Basilica".Oil on canvas. Relined.Signed in the lower left corner.Measurements: 55 x 46 cm.The Parisian district of Montmartre deeply inspired the 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 Seine river 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. On this occasion, Elisée Maclet offers us a view of the emblematic Sacré Coeur Basilica, one of the places most frequently visited by the artists of the time, thanks to its location at the top of the Montmartre hill. In it, the painter captures the underlying essence of one of the most magical places in the French capital, using a daring technique and a totally harmonious palette of colours.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.
DELPHIN ENJOLRAS (France, 1857 - 1945)."The Love Letter.Pastel on paper, glued on canvas.Signed in the lower right corner.Size: 73 x 54 cm; 92 x 73 cm (frame).French painter of the 19th century, Delphin Enjorlas studied at the School of Decoration of the Villa de Paris, where he had Gaston Gerard as a teacher. He later continued his training with Jean-Léon Gérôme and Gustave Claude Courtois at the Ecole des Beaux-Arts in the same city. In 1889 he made his debut at the Salon de la Société des Artistes Français, and two years later he took part for the first time in the Paris Salon, where he took part again in the following years. Around this time he opened his first studio in the French capital, initially specialising in landscape painting. At the turn of the century he changed his subject matter to female portraits, sometimes with an erotic and sensual vision. He is currently represented in the Museums of Puy and Avignon.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Notre Dame vue du pont S. Michel" (Notre Dame seen from the Saint-Michel Bridge).Oil on canvas.Signed in the lower left corner and on the back.Size: 46,5 x 55 cm; 56,5 x 65 cm (frame).The Parisian district of Montmartre deeply inspired the 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 Seine river 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. On this occasion, Elisée Maclet gives us an iconic view of Paris: the river Seine under the Saint-Michel bridge, with Notre Dame cathedral in the background. To add to its splendour, if possible, the painter bathes the scene in a thin layer of snow. The ominous sky and the deep river water give the work a unique and unrepeatable character.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 Museum of Modern Art in Paris.
EDUARDO CHICHARRO BRIONES (Madrid, 1905 - 1964)."Bailaora".Oil on canvas.Signed in the lower left corner.Measurements: 117 x 74 cm; 133 x 90 cm (frame).In this portrait of a dancer, Chicharro manages to capture the vivacity of the jovial and artistic gesture, enhanced by the feminine way of waving the mantilla, taking sparkles from its golden fringes and the satin of the silk blouse.A painter and poet, one of the main theoreticians of Postism along with Carlos Edmundo de Ory and Silvano Sernesi, he was the son of Eduardo Chicharro y Agüera, who had been King Alfonso XIII's chamber painter. In 1912 his father was appointed director of the Spanish Academy in Rome and the family moved to the Italian capital, where they remained until 1925. Eduardo Chicharro Briones returned to Spain to do his military service, and in 1928 he returned to Rome to enjoy a scholarship from the San Fernando Royal Academy of Fine Arts, remaining in the Italian capital until 1935. During these years he came into contact with the surrealist painter Gregorio Prieto, with whom he carried out a series of artistic experiments that anticipated Postism, and with César González Ruano. He then made a series of trips around Europe and returned to Spain for good in 1943, when he was appointed professor of artistic drawing at the School of Arts and Crafts in Madrid, as well as professor of drawing pedagogy at the San Fernando Royal Academy. Around this time he began to frequent the intellectual gatherings in cafés, especially the Café Pombo. In 1944, together with Ory and Sernesi, he created Postism, an aesthetic movement that was intended to be an alternative to the uprooted poetry of the time, and which sought to synthesise all the avant-garde movements developed before the Civil War. His pictorial work is currently held in various collections, mainly private collections.
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Landscape with houses".Oil on cardboard.Signed in the lower right corner.Size: 15 x 21 cm; 45 x 54 cm (frame).In small format paintings such as the one in question, Mir felt freer to experiment with bold language, reducing nature to its basic elements by means of an excellent handling of light and colour. By means of apparently chaotic touches applied with a rapid pulse, he reveals the pulse that beats beneath the forms.Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" (Safrà Group) with other colleagues to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). From 1897 he also frequented the artistic environment of "Els Quatre Gats", which helped him to mature in the compositional study of landscapes with figures in different planes of depth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. 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 gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. 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 pursuing 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.
ANTONIO MUÑOZ DEGRAÍN (Valencia, 1840 - Málaga, 1924)."St Mark's Square in Venice.Oil on canvas.Signed in the lower left corner.Size: 24 x 33 cm; 49,5 x 58,5 cm (frame).Antonio Muñoz Degraín began studying architecture in his youth by his father's decision, although he soon abandoned it for painting. A student at the San Carlos Academy of Fine Arts in Valencia from the age of twelve, he was a disciple of the painter Rafael Montesinos, although his training was essentially self-taught. He took part assiduously in the National Exhibitions of Fine Arts from 1862 to 1915, and it was his successes in these competitions that would have a decisive influence on his artistic career. In 1862 he was awarded an honorary medal, third in 1864 and second in 1867 and 1871. In 1870 he was asked to decorate the Cervantes Theatre in Malaga and settled in the Andalusian capital for good. He married there and years later was appointed supernumerary professor at the San Telmo Royal Academy of Fine Arts (1879). At the Academy Muñoz Degraín taught a whole generation of artists, including the very young Picasso, who always showed him affection and respect. In 1881 the painter won a first medal at the National Competition with "Othello and Desdemona" (Museu do Chiado, Lisbon), which gave him a government pension to finally make his longed-for trip to Rome, also visiting several cities in Tuscany and Venice. In Italy he produced his great masterpiece, "The Lovers of Teruel" (Museo del Prado), one of the masterpieces of 19th-century Spanish painting, which he sent to the National Exhibition in Madrid in 1884, winning the first medal. From then on, his growing prestige brought him numerous honours and public rewards. He was made a Knight of the orders of Isabella the Catholic, Charles III and Alfonso XII, received the medal of honour at the National Exhibition of 1910 and in 1898, on the death of Carlos de Haes, was awarded the chair of landscape painting at the San Fernando Academy in Madrid. He was appointed a member of that institution the following year and its director in 1901. He was also president of the Círculo de Bellas Artes in Madrid. Muñoz Degraín also enjoyed notable success abroad, presenting his paintings at the Universal Exhibitions of Philadelphia (1876), Munich (1883) and Chicago (1893). He is currently represented in the Museo del Prado, the Museo de Bellas Artes in Valencia and others.
ANTONIO MUÑOZ DEGRAÍN (Valencia, 1840 - Málaga, 1924)."Still life with grapes".Oil on panel.Signed in the lower right corner.Size: 31 x 50 cm; 56 x 75 cm (frame).Antonio Muñoz Degraín began studying architecture in his youth by his father's decision, although he soon abandoned it for painting. A student at the San Carlos Academy of Fine Arts in Valencia from the age of twelve, he was a disciple of the painter Rafael Montesinos, although his training was essentially self-taught. He took part assiduously in the National Exhibitions of Fine Arts from 1862 to 1915, and it was his successes in these competitions that would have a decisive influence on his artistic career. In 1862 he was awarded an honorary medal, third in 1864 and second in 1867 and 1871. In 1870 he was asked to decorate the Cervantes Theatre in Malaga and settled in the Andalusian capital for good. He married there and years later was appointed supernumerary professor at the San Telmo Royal Academy of Fine Arts (1879). At the Academy Muñoz Degraín taught a whole generation of artists, including the very young Picasso, who always showed him affection and respect. In 1881 the painter won a first medal at the National Competition with "Othello and Desdemona" (Museu do Chiado, Lisbon), which gave him a government pension to finally make his longed-for trip to Rome, also visiting several cities in Tuscany and Venice. In Italy he produced his great masterpiece, "The Lovers of Teruel" (Museo del Prado), one of the masterpieces of 19th-century Spanish painting, which he sent to the National Exhibition in Madrid in 1884, winning the first medal. From then on, his growing prestige brought him numerous honours and public rewards. He was made a Knight of the orders of Isabella the Catholic, Charles III and Alfonso XII, received the medal of honour at the National Exhibition of 1910 and in 1898, on the death of Carlos de Haes, was awarded the chair of landscape painting at the San Fernando Academy in Madrid. He was appointed a member of that institution the following year and its director in 1901. He was also president of the Círculo de Bellas Artes in Madrid. Muñoz Degraín also enjoyed notable success abroad, presenting his paintings at the Universal Exhibitions of Philadelphia (1876), Munich (1883) and Chicago (1893). He is currently represented in the Museo del Prado, the Museo de Bellas Artes in Valencia and others.
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