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JUAN MANUEL DÍAZ CANEJA (Palencia, 1905 - Madrid, 1988)."El palomar".Oil on canvas.Work reproduced in the catalogue of the exhibition J.D.CANEJA (1905-1988), Ed. Artes Graficas S.A, 1994, p.50.Signed in the lower right-hand corner. Signed, titled and located on the back.Measurements: 65 x 92,5 cm; 81 x 108,5 cm (frame).This work is reproduced in a photograph on page fifty of the J.D. Caneja catalogue. In this image, the author, Díaz Caneja, can be seen leaning out of the window of a gallery in Paris, inside which the presence of this particular piece can be appreciated.Famous landscape painter Díaz Caneja was able to create a completely personal space in his works, in which the fields played a major role. A classical theme treated from a contemporary perspective, with cubist overtones. This work in particular has similarities with the landscapes of 1958 and 1962, which belong to the collection of the Reina Sofia Museum and Art Centre.Juan Manuel Díaz Caneja was a Cubist painter, known and appreciated above all for his settings in the Castilian landscape. In 1923 he began his university studies in architecture in Madrid, and attended classes in the studio of Daniel Vázquez Díaz to prepare for the subject of drawing. He soon discovered his passion and left his studies to devote himself to painting. He took an active part in avant-garde cultural life, especially while living in the Residencia de Estudiantes in the capital. In 1927 he met the members of the Vallecas School, Benjamín Palencia and Alberto Sánchez Pérez, and saw and studied Cubism at first hand when he spent the winter of 1929 in Paris. In 1930 he settled in Zaragoza, where he shared a studio with Manuel Corrales and González Bernal. A year later, in Madrid, he published with Herrera Perete an anarchist, Dadaist and surrealist magazine called "En España ya todo está preparado para que se enamoren los sacerdotes" ("In Spain everything is ready for priests to fall in love"), and began his long list of exhibitions with his first solo exhibition three years later. After meeting his future partner Isabel Fernández Almansa, he joined the Communist Party of Spain, an affiliation he would maintain throughout his life, and joined the National Confederation of Labour, and served on the Republican side during the Civil War, after which he lived and worked in Madrid. In order to avoid censorship, his main theme was landscape, for which he became so well known. He was arrested and imprisoned in 1948 for his links with the Republicans, spending three years in prisons (Carabanchel and Ocaña), but never stopped painting.His work was, however, recognised with various awards (National Painting Prize in 1958; First Medal at the National Exhibition of Fine Arts in 1962; Spanish National Plastic Arts Prize in 1980; Castilla y León Prize for the Arts in 1984) and with the creation in Palencia, in 1995, of a foundation named after him, which has its headquarters in the Museum of Contemporary Art of that city, His work has been exhibited in Madrid, Santander, Bilbao, Paris, Copenhagen, Zaragoza, Pamplona, León, Valladolid, Rome, etc., and is held in important private collections all over the world and in leading institutions (his aforementioned foundation, the Museo Centro de Arte Reina Sofía in Madrid, the Guggenheim Museum in New York, the Museo Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, etc.).

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Le vieux roi, 1959.Lithograph on Arches paper.Ed. Mourlot, Paris. Edition of 1000 copies.Work referenced in Bloch, 896; Mourlot, 317.Signed in plate.Size: 56 x 49,8 cm; 84 x 69,5 cm (frame).Creator of Cubism together with Braque, Picasso was a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lleida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching 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 an engraving 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.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching 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 an engraving 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.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, 1967.Collage on card.Signed in the lower right-hand corner.Provenance: Maeght Gallery; Private collection.Work referenced in the archive of the Chillida-Leku Museum, in Hernani.Measurements: 32 x 25.5 cm; 57 x 50.5 cm (frame).A renowned international artist, Eduardo Chillida is known worldwide for his immense sculptures; however, he also developed an extensive body of work on paper, a set of pieces that showed the richness of his proposal and the quality of his work. Throughout his successful career, Chillida worked with concrete, steel, stone and marble, but he always considered paper to be "the first thing an artist has access to, the way to enter into art territory, even for a sculptor". In his collages, the artist from San Sebastian made the most of the materials, even going so far as to use burnt paper as a method of artistic expression, thus recalling the rusty tonality of the materials he used in his sculptures.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastian for good, and produced his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue National gallery in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching 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 an engraving 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.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on Velin paper, 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 an engraving 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 set of four EPNS columnar candlesticks, c1900, with Corinthian capital, stop fluted shaft and gadrooned nozzle, 23cm h, by Hawksworth, Eyre & Co, Sheffield Plating worn in places, nozzles original and not loose

A selection of hard and paperback books, primarily relating to British and World history, including: four Yale English Monarch books: Richard II, by Saul; Henry V, by Allmand; Edward IV, by Ross; and Henry VIII, Scarisbrick; Empire by Denis Judd; and five vols. by Eric Hobsbawm: The Age Of Capital, The Age of Revolution, The Age of Empire, Uncommon People; together with other book, in two boxes.

David K Stone (Oregon, 1922 - 2001) "District of Columbia circa 1800" Signed lower left. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 29c District of Columbia stamp issued September 7, 1991. After the Revolutionary War, Congress decided that the federal government needed a permanent home. Secretary of the Treasury Alexander Hamilton suggested that the capital be built on federal land, and in 1791 President George Washington selected territory along the Potomac River -- ceded from both Maryland and Virginia. In 1800 the federal government took up residence in Washington City, in the newly-established District of Columbia. The city -- initially governed by Congress and later by Congressionally-appointed commissioners -- underwent massive changes during the next one hundred years. The British set fire to the city in 1814, burning both the Capitol and President's Residence. Enormous growth following the Civil War and both World Wars expanded the city's population base, and local clamors for equal political participation were finally heard in 1964 -- when District residents cast their first Presidential election ballots. Image Size: 17.75 x 24.75 in. Overall Size: 23.75 x 27 in. Unframed. (B13236)

A mixed collection of vintage and antique desk stamps/wax seal stamps, to include oak handled examples, mahogany, rosewood, ebony, ball and claw handle, Scottish brass thistle, some with the words 'Dunkenhalgh', many with initials to include 'W.S', entwined capital A and R and some crests (10).

Capital neo renaissance, historicism majolica show dish with flowers/putti/angel and pegasus. 20th century. Putti + wing glued. Dimensions: 53 x 50 x 28 cm. In fair/good condition.

Capital gold ring, 750/000, with diamonds. Wide wraparound ring with a yellow gold and a white gold band set with many small brilliant cut diamonds, approx. 358 pieces, approx. 4.20 ct in total VVS TW. width ring 19 mm. ø 53. about 21.7 grams. 1 stone along the edge is missing. Provided with certificate. WVP € 22,000.-.

Reliquary, s.XVII.In silver.Miniature on vellum.Bishop's shield carved on the base.Measurements: 22 x 16 x 10 cm.The present reliquary, of Spanish work, dated in the last third of the XVII century, is made in silver with a structure inspired by the monstrances. It consists of a circle of niches surrounding a central medallion-niche with a representation of Christ in an attitude of blessing or Salvator Mundi, on vellum, a miniature resolved with delicate workmanship. Each of the oval medallions mounted in silver was conceived to carry a different relic. The obverses of the circle, in this case, bear legends referring to the relics in question and a cross as the only symbol inscribed on each one. The silver foot combines moldings and projections, and is decorated at the top with three flowers, also in silver.The use of reliquaries became an important part of Christian practices from at least the 4th century, initially in the Eastern Churches, which adopted the practice of transferring and dividing the bodies of saints long before the West, probably in part because the new capital of Constantinople, unlike Rome, lacked buried saints. Reliquaries provide a means of protecting and displaying relics and over the years have acquired a diversity of shapes and designs.

Coat of arms of Catalonia, XVI century. In marble. Signed "M.Salas" on the side. Measures: 32 x 23 x 14 cm. Shield of Catalonia represented in relief in a block of marble. On the four bars, a scalloped vegetal line stands out. It is signed "M. Salas". It could come from the facade of a Catalan town hall. It is from the Renaissance period. Given that the configuration of Catalonia does not occur in its current form until the 15th century, a single heraldic symbol was not developed for the entire Catalan territory. In this territory, unlike others of the Crown of Aragon, the Catalan counties and their holders maintained a high degree of political presence, and whose heraldry has endured in the areas in which they extended, as in the case of the arms of the County of Urgel or Ampurias. The heraldry of the Crown granted the permissions so that some cities could bear in some field the four clubs of gules as well as institutions of the crown. This is the case of the Generality of Catalonia, which adopted the coat of arms of the monarch practically from the beginning. However, the cross of Saint George (in silver field, a cross of gules) also began to be used, as the Generality was gaining political weight, since this saint is highly venerated and patron saint of Aragon (and also of Catalonia). This symbol was initially used by the city of Barcelona in its coat of arms as a symbol of the city (which also combined with the arms of the king), and by extension would symbolize the County of Barcelona. Often the representation of the Catalan Generality was made by means of two separate coats of arms, one the royal and the other that of St. George (perhaps consistent with the pacitist doctrine of this governing body), as well as, later, combining them by means of cross quartering. Since this representation coincided with that of its capital city and main county, during the sixteenth and seventeenth centuries territorialized symbols appeared that represented this coat of arms as a symbol of Catalonia as a whole. Other arguments justify this coincidence with the attribution of this sign of the city of Barcelona in some maps and portolanos later reproduced without contrasting.

Spanish School XVIII century."Altarpiece column of Corinthian order".Carved wood, polychrome and gilded.Measurements: 142 x 26 x 27 cm.We find a column belonging to an altarpiece, of Corinthian order. The main characteristics of the Corinthian columns are to have a fluted shaft, capitals decorated with leaves and acanthus flowers that extend in the form of a bell giving the sensation of height, and proportions that give a more stylized effect and more height than the Ionic columns. The present case is of a much more "baroque" style since it combines the characteristics of the Corinthian style with other elements that give the sensation of horror vacui. Instead of finding a fluted column, as it would be in a classical model, there is a vegetal decoration with the head of an angel in the center. Therefore, the only thing that would remain from the classical Corinthian model would be the capital.

Garrison with clock and candlesticks; France, XIX century.Onyx and bronze.Measures: 44 x 28 x 15 cm (clock); 40,5 x 18 x 18 cm (candlesticks).French 19th century furniture composed of a table clock and two matching candlesticks of four lights. The three pieces combine in their structure gilded bronze and onyx, of a beautiful marbling. The clock follows an architectural design, with a stepped base in slope, main body flanked by four columns with base and capital in bronze, upper entablature with frieze and cornice and upper finial composed of the round figure of a lion resting a paw on a sphere, symbol of power.The base is unornamented, derived from Empire models, but under the clock face we see a bronze plate cut, fretworked and worked in relief, with cornucopias, sphinxes and a central laurel wreath. The dial is of great richness, in gilded bronze with chiseled central rosette, Roman numerals in black and openwork hands. The entablature is also decorated with classical bronze motifs.The candelabra have a stepped base to match that of the clock, although the columns have a papyrus-shaped capital, Egyptian-inspired, different from the columns that adorn the centerpiece. Above this capital rises the body of lights, entirely made of bronze, with vegetalized turnstones, cornucopias and lighters in the shape of a classic vase.

HANS J. WEGNER (Tønder, Denmark, 1914 - 2007).Set of six PP52 chairs.Oak wood frame, with cognac-colored 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 soft 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, characterized 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 allowed him to experiment with different types and designs. At the age of seventeen he completed his apprenticeship, although he remained in the workshop for another three years, until he joined 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, as well as with the most prominent Danish architects of the time, among them K. Klint, V. Lauritzen and V. Lauritzen. 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 early pieces, Wegner showed his interest in the concept of "stripping antique chairs of their outer style and showing them in their pure structure." Throughout his career, the 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. Currently his designs are present in collections such as the MoMA in New York or Die Neue Samlung in Munich.

French school of the XIX century."Female bust.Carved marble.Signed "Chemin" on the back.With unpainted.Measures: 52 x 40 x 20 cm.On a truncated conical base stands the bust of a lady, dressed in the classical manner with a toga and a laurel wreath. The white marble is combined with other colors, giving rise to a sculpture that stands out for its quality and color.This type of work is inspired by those made during the Renaissance and Baroque periods, especially in Italy. These took as an example those of the Roman Emperors, found in the same Italian capital, in which different marbles were combined but without such a high contrast.

Islamic Nasrid capital. Iberian Peninsula, 14th century. Carved white marble. Measures: 30,5 x 24,5 x 24,5 cm. Carved in marble, of high quality. The capital is decorated with a sheath of stylized leaves wrapping the lower cylinder. The heraldic forms inscribed among the vegetal decoration lead us to think that the capital probably comes from an official building of the emir of Granada. The Nasrid coat of arms must have been originally painted. The upper part of the capital shows a rich profusion of interlacing elements with heraldic motifs, following a typical Nasrid tracery pattern. The shapes and composition of the capital and its decorative elements are reminiscent of Hispano-Muslim architecture. The lines of leaves (derived from the acanthus of the Roman composite order) and the scrolls refer to Caliphal capitals, from which it differs in the technique used in the carving: instead of trepanning, a more common working technique has been used. The present example can be related to a specific type of capital used in the Emirate period, known as "de pencas". It follows the aesthetics of the Corinthian, but simplifying its elements, so that we will not find in it the acanthus leaves characteristic of that style, but only its starts, the stalks that give it its name.

Roman mosaic of the IV-V centuries AD. Colored marble tesserae. Provenance: Phoenix Ancient Art. In perfect state of preservation. Measures: 110 x 290 cm. Roman mosaic of big dimensions, dated from the IV-V centuries A.D., representing a fierce animal ready to attack an equine. Both figures are inserted in a landscape insinuated by floral buds and a leafy tree full of fruit. The mosaic is a frequent type of representation on the floors of the main rooms of Roman villas. This example is a faithful reflection of the importance of this type of decoration in classical Rome. It is a piece of great delicacy in which the silver and amber colors give a clear sensation of volume in the bodies. The art of mosaic came to Rome from Greece, and soon became a whole industry, reaching heights of quality never seen before. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were built from small pieces called tesserae (hence the name "opus tessellatum"), cubic-shaped pieces of calcareous rocks, glass or ceramic, of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the color and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by facts such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, favoring the exodus of Greek and Roman masters to the new capital, thus laying the foundations of the famous Byzantine mosaic.

Roman mosaic from the 2nd century AD. Opus tessellatum. Measures: 50 x 50 cm; 56 x 57,5 cm. Roman mosaic dated from the 2nd century A.D., representing a dolphin in movement inserted in perimeter bands. With great delicacy the silver and amber colors are combined to give a certain sensation of volume in the bodies. The art of mosaic came to Rome from Greece, and soon became a whole industry, reaching heights of quality never seen before. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were built from small pieces called tesserae (hence the name "opus tessellatum"), cubic-shaped pieces of calcareous rocks, glass or ceramic, of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the color and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by facts such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, favoring the exodus of Greek and Roman masters to the new capital, thus laying the foundations of the famous Byzantine mosaic.

Roman capital, 2nd century AD.Marble.Iron pedestal.Measures: 21 x 30 x 27 cm (capital); 30 x 20 x 20 x 20 cm (pedestal).This Roman capital, carved and trepanned, dates from the 2nd century. The acanthus leaf wraps around the capital, growing organically from the capitals to the abacus. Derived from the Greek Corinthian capital, this typology develops from the imitation of nature, so that most of the terms used to distinguish its parts have names from the plant world: calyxes, ribs, lobes.... In a somewhat later period, the leaves tended to be schematized, gradually turning towards the Byzantine capital. As a decorative element, the Roman capital occupies an important place alongside the plinths, spires and abacuses, of freer forms than the Greek orders in the interpretation of the artisans, although subject to canons and artistic tastes.

Roman mosaic from the 2nd century AD. Opus tessellatum. Measures: 40 x 54 x 3 cm. Roman mosaic dated in the second century, representing a sea bottom with lobsters and fish. With great delicacy the silver and amber colors are combined to give a certain sensation of volume in the bodies. The art of mosaic came to Rome from Greece, and soon became a whole industry, reaching heights of quality never seen before. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were built from small pieces called tesserae (hence the name "opus tessellatum"), cubic-shaped pieces of calcareous rocks, glass or ceramic, of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the color and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by facts such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, favoring the exodus of Greek and Roman masters to the new capital, thus laying the foundations of the famous Byzantine mosaic.

Torso of Venus pudica. Roman Empire, 2nd century A.D. Marble. Revolving marble pedestal. Measures: 76 x 40 x 30 cm (sculpture); 10 x 40 x 40 cm. (pedestal). Marble sculpture representing a Venus Pudititia just out of the bath. After Praxiteles created and installed in Cnidus the first plastic representation of a large female nude, other sculptors also made this theme their own. The complete nudity of the torso is due to the lack of arms that covered some parts of the body. This absence of upper extremities gives the sculpture a different aspect to the one it would have in origin. As a reference of such important iconography there is a statue preserved in its entirety in the Medici villa in Rome, which shows that the goddess covered her pubis with her left hand, while her right arm was raised to partially cover her breasts. The head, turned sharply to her left shoulder, was relatively small and the neck long, her hair was tied back on her head and a bun on top of the nape of her neck. Of the Venus presented it is still possible to observe the hair falling from her ponytail over her delicate shoulders. The model of the torso is a late Hellenistic work from the beginning of the 1st century B.C. From the position of its limbs, its composition and particular motifs such as the hairstyle, the Venus de Medici owes much to the Capitoline Venus of about 280 B.C., but modifies it according to the stylistic principles of its own time, for example, hips and shoulders and narrowing the waist. The Romans brought two important novelties to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for a large part of their sculptural production, a base that in Rome was combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 B.C., the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 B.C. most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, very fashionable at that time in the capital of the Empire. Thus, numerous copies of Praxiteles, Lysippus and classical works of the 5th century B.C. were produced, giving rise to the Neo-Attic school of Rome, the first neoclassical movement in the History of Art. However, between the end of the 2nd century BC and the beginning of the 1st century BC there was a change in this purist Greek trend, which culminated in the creation of a national school of sculpture in Rome, from which emerged works such as the Altar of Aenobarbus, which already introduced a typically Roman narrative concept, which would become a chronicle of daily life and, at the same time, of the success of its political model. This school will be the precursor of the great imperial art of Augustus, in whose mandate Rome became the most influential city of the Empire and also the new center of Hellenistic culture, as Pergamon and Alexandria had been before, attracting a large number of Greek artists and craftsmen. In the Augustan era Rome contributed to the continuity and renewal of a tradition that already had a centuries-old prestige, and which had dictated the character of all the art of the area.

20th Century School, 'Tamanarive, 1931', A view of the Madagascar Capital, watercolour, signed Th. Guena, 21" x 17".

JOSÉ GARNELO Y ALDA (Enguera, 1866 - Montilla, 1944)."Andalusian Scene".Oil on panel.Signed in the lower right area.Measurements: 32 x 31 cm; 48.5 x 47.5 cm (frame).This work is framed within the Andalusian costumbrismo of the 19th century, showing an intimate scene, whose protagonist is a young woman dressed as a flamenco girl holding a Spanish guitar in her hands. The scene is completed with the presence of a man, who approaches the young woman from behind, without her paying attention to his presence.The new 19th century costumbrismo painting was born as a way of interpreting a growing sense of national consciousness, now present in the middle class as it moved towards social hegemony. To a certain extent, the painters' concern was to deepen the vision of their country through a language, that of painting, that everyone could understand, thus helping the common people to understand the nature and meaning of their nationality, especially as it had manifested itself in the recent past, still alive in the memory of the elders. Of the two fundamental costumbrista schools of 19th century Spain, the one from Seville and the one from Madrid, the latter differs from the gentle picturesqueness of the former in its more pungent and harsh vision, sometimes going so far as to show not only the vulgar, but even recreating itself in torn visions of a clichéd world of the slums, in which the spirit of criticism is evident.José Santiago Garnelo began his training in Montilla and Cabra, to finally enter the Academia de Bellas Artes de San Fernando, in Madrid, where he was an outstanding disciple of Castro Plasencia. During his time as a student he received several awards, such as the Colorido Medal in the 1885-85 academic year, and in 1888 he obtained a scholarship to Rome. In the Italian capital he will have as companions Sorolla and Villegas Cordero, among others. Once back in Spain, in 1893 he was appointed professor at the School of Fine Arts in Zaragoza, beginning a brilliant teaching career that would later take him to the Schools of Fine Arts in Cadiz and Barcelona, the latter city where he counted Pablo Picasso among his students. He was appointed academician of San Fernando in 1912, and three years later he was appointed deputy director of the Prado Museum. Also, from 1936 he directed the Spanish Academy in Rome. Garnelo sent his works to the National Exhibitions of Fine Arts, being awarded the second medal in 1877 and 1890 and the first in 1892. He also won the competition of the Royal Academy of San Fernando in 1894, and won an honorable mention at the Paris Salon in 1896 and a gold medal at the National Exhibition in Valencia in 1910. At the same time, he held exhibitions in the main Spanish capitals, as well as in Paris, London, Berlin and Chicago. He is currently represented in the Fine Arts Museums of Valencia and Seville, the one that bears his name in Montilla, the Aranjuez Palace in Madrid and the Naval Museum of the same city, among other public and private collections.

JOSÉ GARNELO Y ALDA (Enguera,1866 - Montilla, 1944)"Death of Polonius", 1885-1886.Oil on paper glued to cardboard.Signed and dated on the back.Measurements: 42 x 27 cm; 58 x 44 cm (frame).In a vaporous and sketched scene, almost dreamy, the final scene of the III act of Hamlet is represented. In which it is narrated how Hamlet goes to his mother's room to reproach her for marrying Claudius, when he hears noise behind the curtains, Hamlet thrusts his sword thinking that it is Claudius who is hiding, although in reality it is Polonius. In the play we can appreciate the moment in which Hamlet has already killed Polonius, when he finds the sword lying on the floor, and sees the ghost of his father, who is not seen by the queen.José Santiago Garnelo began his training in Montilla and Cabra, to finally enter the Academia de Bellas Artes de San Fernando, in Madrid, where he was an outstanding disciple of Castro Plasencia. During his time as a student he received several awards, such as the Colorido Medal in the 1885-85 academic year, and in 1888 he obtained a scholarship to Rome. In the Italian capital he will have as companions Sorolla and Villegas Cordero, among others. Once back in Spain, in 1893 he was appointed professor at the School of Fine Arts in Zaragoza, beginning a brilliant teaching career that would later take him to the Schools of Fine Arts in Cadiz and Barcelona, the latter city where he counted Pablo Picasso among his students. He was appointed academician of San Fernando in 1912, and three years later he was appointed deputy director of the Prado Museum. Also, from 1936 he directed the Spanish Academy in Rome. Garnelo sent his works to the National Exhibitions of Fine Arts, being awarded the second medal in 1877 and 1890 and the first in 1892. He also won the competition of the Royal Academy of San Fernando in 1894, and won an honorable mention at the Paris Salon in 1896 and a gold medal at the National Exhibition in Valencia in 1910. At the same time, he held exhibitions in the main Spanish capitals, as well as in Paris, London, Berlin and Chicago. He is currently represented in the Fine Arts Museums of Valencia and Seville, the one that bears his name in Montilla, the Aranjuez Palace in Madrid and the Naval Museum of the same city, among other public and private collections.

Couple of marble columns with capital in wood H185

Column with capital in wood H130

Console / capital in white stone H46x60x60

Capital / console in sandstone H40x60x60

Capital in concrete H35x50x50

An antique brass oil lamp, with faceted column and Corinthian capital, height including shade 70cm.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Leizarán", 1987.Etching and aquatint on Rives paper, copy 24/50.Publisher: Theo Gallery, Madrid. Hatz Workshop.Work published in "Eduardo Chillida: Opus III". Verlag 1996, pg.100-101. num. 87018.Provenance: Elvira Gonzalez Gallery, Madrid.Signed and numbered in pencil.Measurements: 95 x 67 cm.(plate); 99 x 64 cm.(paper)."Leizarán", dedicated to the homonymous valley, has been one of Chillida's most acclaimed engravings, having even been ceded its use (by the Andoain City Council) as the logo of the Leitzaran bisitarien etxea Center, in 2008. Chillida started drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work 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 of 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 of 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 around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Inguru IV", 1968.Etching on Arches paper, copy 18/20.Signed and numbered by hand.Provenance. Helga de Alvear Gallery, Madrid.Work published in "Eduardo Chillida Opus I" Koelen. Verlag, pg 125. reg. 68003.Measurements: 90 x 64 cm.(paper); 43 x 59 cm. (stain)Chillida begins in the drawing in the Circle of Fine Arts of Madrid, and little by little his interest for the sculpture is growing. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work 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 of 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 of 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 around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

A Regency giltwood pier glass of inverted breakfront form, the tulip capital column frame with anthemion flowerhead frieze and later bevelled rectangular plate. 96.5 x 57cm

Irish broadsides. A group of 6 broadsides, late 18th and early 19th century, the first a Notice to Blacksmiths' issued by George Nugent, Major General commanding the Northern District, Belfast, 24 June 1798, printed by Hanna, Enniskillen, [1798], threatening capital punishment for anyone trading as 'gunsmith, armourer, blacksmith, whitesmith or manufacturer of any species of metal, unless the most respectable security is given for his good conduct, and a licence obtained from me... ', wove paper, some staining to right and lower margins, 34 x 20 cm, the second concerning premiums offered by the Right Hon. James Fortescue, Ravensdale Park, 6 March 1775, Newry: printed by W.G. Jones, some soiling and a little ink see-through from verso, fold tape repair to centre margin verso, 24 x 22 cm; plus broadsides for Belleek Yeoman Infantry, or Loyal Erne Rangers, 2 copies, printed on rectos of a pale blue paper bifolium plus one similar slightly later completed in manuscript and another issue by John Caldwell offering a reward of £10 concerning the theft of a shank of an anchor, paper stained, various sizes, plus a copy of The Belfast News-letter, no. 5961 from Monday September 22 to Friday September 26 1794, and a later broadsheet issue from 9 December 1904, both with some spottingQty: (8)

Politics. A large collection of modern politics & philosophy reference, including The Right to Life, a world view of capital punishment, by James Avery Joyce, 1st edition, London: Victor Gollancz, 1962, 8vo, The Ignorant Schoolmaster, five lessons in intellectual emancipation, by Jacques Rancière, Stanford: University Press, 1991, 8vo, & publications by Manchester University Press, Routledge, Gollancz, Chatto & Windus, all original cloth in dust jackets, G/VG, 8voQty: (6 shelves )

VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879-1963)."Basque old man", 1912.Oil on canvas.Signed, dated, located and dedicated in the lower right corner.Work referenced in "Valentín de Zubiaurre. Life and work", by Rebeca Guerra.Measurements: 59,5 x 46 cm.An elderly villager is represented in the foreground, in profile, opening behind him the partial view of his village, with whitewashed houses, arranged in ringlera. It is a type of folklorist representation in which Valentín de Zubiaurre especially excelled, exalting popular types and Basque corners, about to disappear. His art is inscribed within 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 palette of intense contrasts, the preeminence 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 mute, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, 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 he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them 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. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. 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 Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

JOAQUÍN MIR TRINXET (Barcelona, 1873 - 1940)."Landscape.Oil on canvas.Signed in the lower right corner.Measurements: 45 x 37 cm; 58 x 48 cm (frame).In this work Mir demonstrates his absolute mastery of the technique and the capture of the landscape, in an image in which he manages to synthesize the naturalistic expression, the personal expression and the pictorial order. We see a sensitive brushstroke, which explores the space and gives it form and entity, creating volumes, lights and shadows, defining an atmosphere captured with great sensitivity. Through a purely personal language, Mir synthesizes the basic elements of representation and expressiveness of painting, as can be seen in the intensity of his colors or in the rigor of his compositional structure.Joaquín Mir studied at the Escuela de Bellas Artes de San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's hometown. In 1893 he formed the "Colla del Safrà" together with artists such as Isidro Nonell, Ricard Canals and Ramón Pichot, and in the last years of the century he was associated with the artistic environment of "Els Quatre Gats". He completed his training in 1895, when he spent a season in Madrid copying works by Velázquez. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital in order to compete for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, on a trip that would be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, specifically by the landscape of Sa Calobra, which was an inexhaustible source of inspiration for him. In 1901 he exhibited the fruit of this first Mallorcan period individually at the Sala Parés in Barcelona, and once again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Already consolidated as an outstanding figure of the Catalan panorama, he acquires the definitive recognition at national level in 1917, when he is awarded the National Prize of Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honor at the National Exhibition in Madrid, an award he had been pursuing since 1922. Although he was mainly a native painter, he had solo and group exhibitions in Washington, Paris, Pittsburg, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the most outstanding representative of Spanish post-impressionist landscape painting. His work is preserved in the National Art Museum of Catalonia, the Prado Museum, the Thyssen-Bornemisza Museum and the Reina Sofia Museum in Madrid, among many others.

JULIÁN DE TELLAECHE (Vergara, Gipuzkoa, 1884 - Lima, Peru, 1957)."Ship's prow".Oil on canvas.Signed in the lower right corner.Measurements: 52.5 x 61.5 cm; 70 x 77 cm (frame).Ships, masts, docks, sails and sailors become the real protagonists of Tellaeche's paintings. With a Cezannian style, in Tellaeche's paintings the brushstroke and the color become independent of the model to express themselves, giving great importance to the pictorial order and the artistic personality. They are variegated compositions, represented with a marked constructive rigor and characterized by an iconographic imaginary close to the sea and its surroundings.Julián de Tellaeche left his job as a sailor to devote himself to painting, thanks to Eduardo Chicharro, who taught him and encouraged him to travel to Paris to complete his training. After being in the French capital, in the Academies Julien and Colarossi, he settled in Lequeitio, beginning to exhibit in 1910 (IV Exhibition of Modern Art of Bilbao), at which time he began his participation in national and international exhibitions in various cities (Barcelona, Brussels, Stockholm, San Sebastian, Madrid, etc.). The Civil War caused him to go into exile in the Parisian capital, moving in 1952 to the city of Lima, where he continued his artistic career and worked as curator of the Peruvian National Artistic Treasury. He never forgot the world of the sea, frequently capturing it in his works. He was also known for his membership in the founding group of the so-called Association of Basque Artists (1911). His work is preserved in private collections (mainly Spanish) and in institutions such as the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museo Provincial de Vitoria, the Museo de Bellas Artes in Bilbao, the BBVA Collection, the Museo de San Telmo in San Sebastián, etc.

ISIDRE NONELL I MONTURIOL (Barcelona, 1873 - 1911)."Male character", 1908.Pencils on paper.Signed and dated in the lower left corner.Measurements: 24 x 31 cm; 52 x 59 cm (frame).At a formal level, this is a good example of Nonell as a draftsman, of his energetic, expressive and free stroke, clearly modern, as well as the color and his treatment of lights and shadows. We see the expressive power of the silhouette of the old man, worked with energetic pencil strokes, tangled and free, highlighted on a background with other characters, building space and volume by itself.Painter and draftsman, Nonell trained with Josep Mirabent, Luis Graner and at the Martínez Altés academy. In 1892 he presented his work at the Sala Parés, and the following year, as part of the Academia Libre group, he took part in a group exhibition headed by Rusiñol. In 1894 he participated in the Second Exhibition of Fine Arts in Barcelona, and published drawings in "La Vanguardia". During these years he was a student at the La Lonja School in Barcelona, and between 1895 and 1896 he coincided with Joaquín Mir, Gosé, Sunyer and Torres-García. In 1895 he took part for the first time in the National Exhibition of Madrid, an exhibition in which he participated several times until 1910. In 1896 he exhibited with the Colla del Safrà at the Third Exhibition of Fine Arts in Barcelona, where he was awarded an honorary mention. In the summer of the same year he moved to Boí (Lleida) together with Ricard Canals and Julio Vallmitjana, where he made numerous drawings on cretinism, then endemic in the area due to inbreeding practices. In autumn, Nonell exhibited these works in the salon of "La Vanguardia", and at the beginning of the following year he published his drawings in "Barcelona Cómica". Shortly after, he showed an oil painting also by Boí at the XIV Exhibition of the Sala Parés. That same year he went to Paris, again with Canals. In April 1897 he took part in the Salon du Champ de Mars in the French capital, and towards the end of the year he took part in the XV Exhibition of Impressionist and Symbolist Painters, also in Paris. At the beginning of 1898 he organized a joint exhibition with Canals at Le Barc de Boutteville. He returns months later and shows his sketches of Paris at Els Quatre Gats, but soon returns to the French capital. There, "La Vie Moderne" had published several of his works, and he exhibits individually in the outstanding gallery of Ambroise Vollard (1899). After rejecting the proposal of the art dealer Durand Ruel to paint "españoladas", he hurriedly returned to Barcelona, apparently for personal reasons. During 1902 and 1903 he exhibited regularly at the Sala Parés and the Ateneo in Barcelona, while sending works to the Parisian salons. He also published drawings in "Papitu", "L'Esquella de la Torratxa", "La Campana de Gràcia", "Quatre Gats", etc. Respected by restless young people, Nonell became the flag of a whole new generation of painters who sought realism and sincerity. Nonell is currently represented in the Reina Sofia Museum, the Thyssen-Bornemisza, the National Art Museum of Catalonia in Barcelona, the MAPFRE Foundation and the Museum of Empordà, among others.

ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Behind the Moulin de la Galette", Montmartre.Oil on cardboard.Signed in the lower left corner.Measurements: 44.5 x 50.5 cm; 58 x 66 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries 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 immortalized 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 the Montmartre life of 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 Moulin de la Galette, a popular nightclub in the heart of Montmartre that attracted the painter's gaze on numerous occasions. Maclet captures in this cardboard the underlying essence of this iconic Parisian corner, through a vibrant, bold brushstroke and intense colors.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn 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 World War I, and he maintained this success for the rest of his career because of 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 early 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 are sometimes reminiscent of 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 "20th Century Paintings" exhibition; 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, over 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 prominent 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. Currently, 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.

ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940)."Marina".Oil on canvas pasted on board.Signed in the lower right corner.Measurements: 47 x 46 cm; 64 x 63 cm (frame).In this composition, the coastal landscape is stripped of all superfluous elements. The ochers with golden shades harmonize with iridescent blues and cerulean. A beautiful formal and chromatic purification with which Meifrèn transmits the intense calm of the Mediterranean. A painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923)."Girl", 1882.Oil on canvas.Attached certificate of authenticity issued by Mrs. Blanca Pons Sorolla.Work exhibited at: Exhibition tribute to Sorolla. Sala Parés, 1948 (Reproduced in the catalog in black and white).Work reproduced in: Bernardino de Pantorba, The life and work of Joaquín Sorolla. Biographical and critical study. Madrid, 1970, nº1152.- Catalogue Raisonné of the artists BPS 256.Presents label of the Sala Parés (Barcelona) and the Montenegro Gallery (Vigo).Measurements: 49.5 x 37.5 cm; 63 x 50 cm (frame).During the years 1881 and 1882 Sorolla, traveled frequently to Madrid, where he came into contact with the painting of the Prado Museum in Madrid, opting for the baroque decided to copy the great masters such as Velázquez or Ribera. In this painting of a young Sorolla, we can already appreciate that loose brushstroke so characteristic of his painting, although it is still somewhat timid, in relation to his later paintings. The darkness of the background lets the influence of the great baroque masters pulsate. However, the luminosity of the white of the neck, added to the pearly and pink skin of the protagonist, allows us to perceive a certain luminosity in the scene.Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes taught by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months 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!", 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 will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize 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 works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual 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 destined to illustrate, on the walls of the Hispanic Society, the regions of Spain.

IGNACIO DÍAZ OLANO (Vitoria, 1860 - 1936)."Las langosteras", ca.1925.Oil on canvas.Signed in the lower right corner.Work reproduced in color in "Basque painters and sculptors of yesterday, today and tomorrow", page 307.Measurements: 100 x 90 cm; 120 x 110 cm (frame).The production of Ignacio Díaz Olano is inscribed within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century. In this canvas, Olano offers us a realistic portrait of local customs, centered on the representation of two lobsterwomen from the Basque Country. The two women converse relaxedly beside the estuary of the village, while the basket with the lobsters caught during the day rests next to them. The clothes they both wear, with clogs and wide aprons, as well as the regional hairstyles they wear, denote the painter's search to reflect the types and customs of the Basque Country, which make it different and unique. In this boom of regionalist art, painters like Olano vindicated their own roots and, above all, the traditions and forms of dress, at a time when customs were threatened by the notable growth of urban areas and the imposition of new fashions brought 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.Ignacio Díaz began his training in Vitoria, and then studied in Barcelona, with a scholarship from the Vitoria City Council, between 1876 and 1880. In Barcelona his teacher was Gustavo Bacarisas, and he studied at the School of Fine Arts. After finishing his apprenticeship he returned to his native city, where he collaborated for some time in the weekly magazine "El Danzarín", signing his drawings with the pseudonym "Galop". Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing. He also worked in the French capital as a set designer for the Opera House. In 1894 he went to Rome with his friend Felipe Arrieta. After two years in Italy, in 1896 he took up permanent residence in Vitoria. Between 1890 and 1925 Díaz participated in multiple editions of the National Exhibitions of Fine Arts, obtaining a bronze medal in 1895 and a silver medal in 1899 and 1901. He taught at the School of Arts and Crafts of Vitoria, and was a professor of drawing at the Institute of the same city. His work is mainly costumbrista, and is impregnated by a great naturalism. He was also a great portraitist, having also cultivated still life and landscape. In 1963 the Provincial Council of Alava held an anthological exhibition of his work in his honor, exhibiting one hundred and fifty-eight works. The critic Mario Ángel Marrodán stated: "The ardent and powerful lyricism of his painting is the result of the fusion or confrontation of man with his time, of the painter and his environment, or of the artistic reality between rustic and wild from which he has extracted the new fruits of the work of art". Ignacio Díaz is currently represented in the Prado Museum (his work is on deposit in the Fine Arts Museum of Asturias), the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Alava, the City Hall and the School of Arts and Crafts of Vitoria, the Caja Vital Foundation and the collection of the Bank of Vitoria, as well as in numerous private collections.

MANUEL COLMEIRO GUIMARÁS (Pontevedra, 1901 - Salvaterra do Minho, Pontevedra, 1999)."The fair", 1972.Oil on board.Presents label on the back of the Biosca Gallery (Madrid) and Montenegro Gallery (Vigo).Measurements: 50 x 65 cm; 83,5 x 68 cm (frame)."Whether I am in America or in Paris, wherever I am, it is the painting that I feel and the one that impresses me the most, especially living outside my land" These are the words of the artist himself who always resorted to themes linked to the tradition of his land. This work is a clear example of his interest in the local, as it collects a day of Fair, where he concentrates a crowd inscribed in a landscape that loses prominence with respect to the profusion of characters. Some protagonists whose features do not define them in a specific way, but the lack of these give rise to represent an archetype, a common tradition. It should be noted that although the theme is related to the costumbrista current, the author uses a completely new language to treat the subject, both the composition defined by a diagonal, as well as the use of a palette of bright and vivid colors place the scene in the panorama of modernity. It is worth mentioning that the representations of fairs were a constant in Colmeiro's painting, an example of this is the work that belongs to the ABANCA collection, which shares the same title and a very similar scenic conception.A Galician painter who emigrated to Buenos Aires, Manuel Colmeiro combined his artistic studies there at night with work in a shoe factory. For a year he studied at the Academy of Fine Arts, which he nevertheless abandoned to form a working group with other painters and sculptors. After this stage, where he developed an expressionist work, he returned to Galicia in 1926. Two years later he held his first exhibition in the salons of Faro de Vigo, and soon obtained a scholarship from the Diputación de Pontevedra to travel to Madrid and further his training at the Academia de Bellas Artes de San Fernando. In the capital, Manuel Colmeiro showed, however, a greater interest in studying first-hand the great masters at the Prado Museum. He continued to make himself known, and in 1932 he took part in an exhibition of new Galician painters at Federico García Lorca's Barraca. However, when the civil war broke out, he went back to Buenos Aires, where he remained until 1948. During this second period in Argentina he will be in contact with Luis Seoane, Rafael Dieste and Rafael Alberti, among others. In 1949 he moved to Paris, where he remained for decades, until 1989, when he returned definitively to Galicia. In fact, Colmeiro is considered part of the Spanish School of Paris. In the 1960s he achieved massive international recognition, with solo exhibitions in London, Paris and Madrid. During these years his work is already focused on popular Galician themes, its culture and its people. He was part of the group known as "Os Novos" or "Os Renovadores", together with Seoane, Laxeiro, Arturo Souto and Maside. All of them, born at the beginning of the 20th century, were considered continuators of the "Nós Generation", and had in common a work with Galician themes combined with avant-garde aesthetics, mainly expressionism, cubism and abstraction. Among them, Colmeiro stood out for the intimate air of his images, accompanied by a lyrical concept of atmospheres, and in fact he was considered the most attached to the tradition of the group.Throughout his career, this artist was awarded several prizes, including the Prêmio das Artes de la Junta de Galicia in 1987 and the Prêmio Celanova, Casa dos Poetas in 1996. He is currently represented in the Afundación Collection, the María José Jove Foundation, the Abanca Collection and the Museum of Pontevedra, among other collections.

VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque types".Oil on canvas.Signed in the lower left corner.With label on the back of the XXemeExpositionBiennaleInternationale des Beaux-Arts, Venice, 1936.Measurements: 101 x 101 cm; 123 x 123 cm (frame).Valentín de Zubiaurre demonstrates in this painting his superb gifts as a portraitist, reflecting with naturalism and closeness to the three main characters, perfectly individualized in their attitudes and features. Zubiaurre, who knew like no one else how to represent the people of his time, especially Basques and Castilians, takes pleasure in the attitudes of the figures, with serious and measured gestures. The young girl, dressed in popular Basque clothing, is presented in strict profile, holding a basket of fruit in her right hand. Her gaze is directed to the old man in front of her, whose reflective face alludes to hard work and life in the countryside. In his right hand he holds a walking stick, revealing his advanced age, while in his left he holds a jar. Like him, the villager behind him, with an imperturbable gesture, wears popular clothes and a txapela. Special mention should be made of this last character, who looks directly at the viewer, an aspect that departs from what is usual in contemporary Spanish genre painting, where the characters usually ignore the painter's presence (as, in this composition, the other two villagers do). Behind this monumental group portrait, we see a group of houses of the village unfold. The white walls and gabled roofs tell us that we are in a small village in the Basque Country, full of life according to the locals who invade its streets.The son of the musical composer of the same name, Valentín de Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, 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 he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them 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. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. 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 Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

RAMÓN DE ZUBIAURRE AGUIRREZÁBAL (Garay, Vizcaya, 1882 - Madrid 1969)."The julep", 1966.Oil on canvas.Signed, dated and titled in the lower left corner.Work reproduced in color in:- "Ramón de Zubiaurre. The painter and the man", Takeshi Mochizuki, publications of the Diputación Foral del Señorío de Vizcaya, p. 189. This publication indicates that Ramón Zubiaurre exhibited the work at the Sala Toisón in Madrid, thus fulfilling the wish to be judged by his peers at the age of 75.- "Basque painters and sculptors of yesterday, today and tomorrow", p. 273.Provenance: Formerly Luis Benito del Valle collection (Bilbao).Measurements: 68 x 63 cm; 95 x 110 cm (frame).Basque traditions were a recurring theme in the production of Ramón de Zubiaurre, who sought to document the ethnographic values of his region, as was the practice of regionalist painters in the rest of Spain at the time. In the exceptional canvas in question, Zubiaurre immortalizes a group of village women playing a lively game of julep. In spite of the apparent banality of the theme represented, Zubiaurre recreates an interesting link between all the characters that, far from seeming casual, becomes a declaration of intentions. And the fact is that the game is not limited to the cards resting on the table, or to those that the women with white cloths on their heads play between their hands, but, behind them, there are two other female figures, accomplices in the game. This time with black cloths, both women observe the cards of the players. To the right of the composition, standing to control all the movements, a villager indicates to her ally in front of her to watch her movements, while she looks back at her. Behind her, another villager in black watches the play. The defiant gaze of the central figure, who has put on her glasses so as not to lose any detail, and the figure who at that precise moment throws her card, complete a fascinating game that, beyond the cards, is extrapolated to reality. The narrative of the scene is reinforced by the double still life exercise on the right of the painting. Behind this eloquent genre scene, we see an imposing landscape dotted with a village and a hamlet, worked with a very varied palette in which green tones predominate, very elaborate and varied. The painter plays with the intensity and contrasts of light to construct the space, and attenuates the colors in the undulating mountains in the background, reflecting the humid atmosphere that dominates the landscape.Brother of Valentín de Zubiaurre, also a painter and also deaf and mute like him, he always maintained a close relationship with his brother, and in fact both began their careers hand in hand with his sister Pilar, who was in charge of selling his paintings and organizing numerous exhibitions, both in Spain and abroad, in the United States, Mexico, Argentina, Peru, Chile, Germany and other countries. Between 1903 and 1912 he received a scholarship from the Diputación de Vizcaya, which allowed him to devote himself fully to painting. From the beginning he will be 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 Royal Academy of San Fernando, and in 1905 he finished 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 he remained in the United States between 1940 and 1951. He is currently represented in the Reina Sofia Museum in Madrid, the Chicago Museum, the National Museum of Fine Arts in Buenos Aires, the Fine Arts Museums of Bilbao and Alava, the San Telmo Museum in San Sebastian and the Provincial Council of Gipuzkoa, among other collections.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte et bleu composition/ composition in blue", 1960.Oil on canvas.Work reproduced in the Catalogue Raisonné, Volume II, 1945-1972, p. 408.Provenance: Simon Collection (USA), bought directly from the artist.Signed and dated in the lower right corner.Measurements: 81 x 100 cm; 107 x 126 cm (frame).Lyricism and color are the undisputed protagonists of this piece, in which blue dominates the entire composition, creating the forms of this synthetic still life, through tonal gradations. The subtlety of the blues, added to the elements of fluid and clear geometries, show us the characteristic style of the painter's last stage, which was called "the white manner". The white manner includes works after 1955, which the artist himself contextualized as follows: "I continued to aspire to greater luminosity, disembodying the figures more and more at the same time. An attempt, in a certain way, to approach what the abstractionists aspired to by purely figurative means and, above all, to achieve something different from all those schools or movements, to achieve a special transparency. I wondered inwardly where such experiences would lead me... I think I know now: for the last two years I have returned to my first attempt to achieve a plastic synthesis of the true. My painting, which was once dark, is today clear".A contemporary Spanish painter, belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim Gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant".

An Italian Verona marble Solomonic columnProbably 17th/ 18th centuryOf typical form, with an associated ionic capital and an associated base, 34cm wide, 34cm deep, 180cm high (13in wide, 13in deep, 70 1/2in high) 69 in. (175.3 cm.) highFootnotes:Provenance: With Angus McBean.Christie's, London, South Kensington, 26 October 2016, The Hone Collection, lot 46The Solomonic column, also known as a barley-sugar column, is a helical column, characterized by it's spiral twisting.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A GROUP OF THREE COADE STONE PILASTER CAPITALSBy Coade, London, late 18th / early 19th centuryWith acanthus leaf decoration, The demi-lune capital: 42cm wide, 31cm deep, 38cm high (16 1/2in wide, 12in deep, 14 1/2in high) (3)Footnotes:Provenance: Christie's, London, South Kensington, 26 October 2016, The Hone Collection, lot 58.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Two marble capitals together with a stone corbelItalian, 17th / 18th centuryThe larger capital carved with scrolled acanthus leaves, the corbel of typically scrolled design, one side carved with scrolling foliate and floral decoration, The largest capital: 37cm wide, 30cm deep, 36cm high (14 1/2in wide, 11 1/2in deep, 14in high) the corbel: 59cm high (3)Footnotes:Provenance: Christie's, London, South Kensington, 26 October 2016, The Hone Collection, lot 91.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A carved alabaster Corinthian capital,57cm wide43cm high,together with a carved alabaster cartouche panel,54cm wide72cm high (2)Condition report: Knocks and losses. Cartouche panel cracked and repaired.

A George III mother-of-pearl octagonal tea caddy,c.1780, with tortoiseshell borders and all-over engraved decoration of trailing and stylised flowers, the front mounted with a circular miniature on ivory depicting a wistful looking lady and her spaniel seated beneath a tree with a gold border, the cover with a gold capital, the lockplate with gold mounts, the hinge and escutcheon also gold mounted,12cm high7.5cm deep10cm wideProvenance: The Peter and Pat Crofts Collection.Condition report: Internal foil disintegrating, otherwise good. mounts tested at approximately 9ct gold. top cap possibly covering the lack of a handle chipped to the bottom edge, the pique work with small areas of damages

A Roman marble column capital of the Corinthian order,probably c.2nd-3rd century AD, carved with acanthus leaves and foliate scrolls, 82cm wide82cm deep54cm high, raised on a later stand 52cm diameter (2)For a similar, albeit smaller, example, see Bonhams, 'Antiquities', 28 November 2017, lot 113.Condition report: 82cm wide82cm deep54cm high,raised on a later stand52cm diameter (2)

A Bockholt Gauge 1 two-rail American Richmond-Washington 'Berkshire' class 2-8-4 Locomotive and Tender, built by Lima loco works for the Capital Cities Route and finished in blue/grey/black as No.575, the model being Bockholt reference 686, production no 22, E, wheels show minimal evidence of use, in original box, box VG

Mathieu Liart (1736-1782) after Andrea Sacchi [or Carlo Marrati] - Sacrifice of Noah, engraving with etching published by J Boydell 1767, from Boydell's Collection of Prints engraved after the Most Capital Paintings in England, a good impression issued prior to publication 'No 36' in pencil, closed tears, creased and soiled, mounted to within image, 46.5 x 48cm, W B Cooke after J M W Turner - Pevensey Bay from Crowhurst Park, 1819, proof engraving for the series of Views of Sussex and Samuel Dunkinfield Swarbreck - Jail Governor's House from College Church Edinburgh 1837, lithograph, plate VIII from Sketches in Scotland (1839) (3) Provenance: (Swarbreck) Mr and Mrs Abel Smith, Daylesford (inscribed) Mounted and framed to Mrs Abel Smith's specification Swarbreck - lifted slightly in mount and a little foxed. Pevensey Bay - creased upper left when laid down and slightly foxed

A mixed collection of furniture including a rectangular occasional table in a military style, with inset leather top over an arrangement of drawers, a timber box with fall front and simply fitted interior, an Edwardian torchere stand, a painted jardinière stand and cover, further plaster jardinière stand in the form on an ionic capital (5)