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MANUEL ÁNGELES ORTIZ (Jaén, 1895 - Paris, 1984)."Walk under the trees".Cut-out paper.Work reproduced in "Manuel Ángeles Ortiz. Homage Exhibition. Spanish Museum of Contemporary Art, 1980. Fig 132.Signed in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 61 x 47 cm; 90 x 74 cm (frame).A representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a group exhibition, receiving very good reviews in the local press. At the same time, he began to produce drawings for various publications. In the early 1920s, following the death of his wife, the painter moved to Paris. There he painted frenetically, with Picasso as his main supporter and first enthusiast. His painting abandoned cubic forms to focus on fully dreamlike images, which he presented in Paris in his first one-man show, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to take refuge in France once again at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated into the artistic scene and lived until 1948, when he returned to Paris for good. He is currently represented in the Museo Nacional Reina Sofía in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Museo de Arte Contemporáneo in Seville, the Museo de Bellas Artes in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera gallery in Cologne, among other public and private collections.

HERNANDO VIÑES SOTO, (Paris, 1904 - 1993).Untitled, 1931.Watercolour on paper.Signed and dated in the lower left corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 31 x 24 cm; 44 x 52 cm (frame).Born into an upper-class bourgeois family, Viñes was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a pupil of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). In the early eighties, important retrospective exhibitions were held at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.

JUAN BORDÉS CABALLERO (Las Palmas de Gran Canaria, 1948).Untitled.Coloured pencils.Signed in the lower right area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 20 x 29 cm; 44 x 53 cm (frame).This work reproduces the famous piece by Thomas Gainsborough "Mr and Mrs Andrews". Juan Bordés Caballero began his training in 1957 when he started studying sculpture at the Luján Pérez School in Las Palmas. Later in 1965 he moved to Madrid, attending the Escuela Técnica Superior de Arquitectura de Madrid, the Escuela Cerámica Moncloa and the Círculo de Bellas Artes, where he studied drawing. In 1986 he obtained his doctorate at the University of Madrid, and in 1988 he was awarded his professorship. His works are currently part of important collections of artists such as the Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria; the Museo de Arte Contemporáneo, Caracas (Venezuela); the Museo de Arte Contemporáneo, Seville; the Biblioteca Nacional de España, Madrid; Colección Renfe, Madrid; Mapfre Collection, Madrid; Fenosa Collection; University of Valencia; Contemporary Art Collection, Castilla-La Mancha; Museo Popular de Arte Contemporáneo, Vilafamés, Castellón de la Plana; Asociación Canaria de Amigos del Arte Contemporáneo, Santa Cruz de Tenerife; and Colegio de Arquitectos, Las Palmas de Gran Canarias.

VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997)."Multicheyt", 1973Oil on canvas.Signed in the lower margin. Signed, dated and titled on the reverse.Provenance: Theo Gallery, Madrid; Private collection.Exhibitions: Madrid, Galería Theo, "Vasarely", May 1975.Bibliography: Catalogue of the exhibition "Vasarely", Galería Theo, Madrid, 1975, pg. 309.Auctions: at Alcalá Subastas, "Multicheyt" in Madrid fetched an auction price of 95000 euros (08/06/2017).Provenance: private collection conceived since the 1970s between London and Madrid.Size: 120 x 120 cm.The painting "Multicheyt" belongs to the Vega series, one of Victor Vasarely's most emblematic, which the Franco-Hungarian artist, the father of Op Art, produced at the height of his career. Vasarely chose for this series the name of the star Vega, the brightest star on summer nights in the northern hemisphere. It is based on the discovery that the deformation of a two-dimensional grid can generate an abstract three-dimensional landscape, with elevations and depressions, where squares are transformed into rhombuses and circles into ellipses. Thus, the illusionistic effect that combines convexity and concavity with dilation and contraction, contains a meditated cosmic symbolism, evoking the rhythm born of the stars, as well as the formation of galaxies by the expansion of the universe as a whole. Multicheyt's polychrome grid, composed of irregular octagons and rhombuses, manages to simulate a subjugating dynamic three-dimensionality.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a type of constructive and geometric abstract art, and he became interested in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Ink and pencil on card.Slight damage to the paper in the corners.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.A desolate face opens its mouth in an expression of pain, captured by a great technical handling of the artist who manipulates the brushstrokes in a horizontal way, and manages to capture the breathing of the protagonist. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura con sombrero y flor en la boca (Figure with a hat and flower in its mouth), 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.In this portrait we can appreciate a clear influence of the surrealist movement where the forms have been reinterpreted by the artist in a free way without abandoning the figuration. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the central area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948).Untitled, 1985.Lithograph on paper. Copy 32/75.Signed and justified in pencil.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 51 x 70 cm (print) 55 x 76 cm (paper); 65 x 85 cm (frame).Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs for the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948) .Untitled, 1976.Ink on paper.With an information label on the back from the Galería Colón XVI (Bilbao).Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 42 x 31 cm; 57 x 45 cm (frame).Pérez Villalta was one of the most important representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs for the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other prominent contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948).Untitled, 1984.Gouache on paper.Slight roughness on the paper.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 49 x 33 cm; 71 x 53 cm (frame).The exceptional nature of this work lies both in its subject matter and its aesthetics. Pictorial portraits are not frequent in the work of Pérez Villalta, who works in a broader way with the insertion of complete figures in a space. For this reason, bust portraits, as in this case, are not common in his painting. Furthermore, the technique in this work is much freer. He still maintains the monumental features which are based on the influence of the classics, but the use and play of colour predominate over the drawing. In the solo exhibition dedicated to the artist at the Sala Alcalá 31 (2021), the way in which the artist portrayed the figures was explored, describing him in this way: "At times, in their anatomies there is the memory of Michelangelo and in their faces there is the eternal gaze of a Byzantine Pantocrator, the distant attitude of a surrealist type, or the temperance of a little Frenchman de Chardin".Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the Biblioteca Nacional, the Estampa fair, the Banco Zaragozano and the Museo de Bellas Artes in Bilbao. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948)."La muerte de formalisme", 1982.Mixed media on paper.Signed and dated in the lower right-hand corner. Titled in the lower area.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 69 x 49 cm; 82 x 63 cm (frame).The eighties were a period of reflection for Gordillo, who intensified his meditation on the nature of painting and the figure of the artist. Stylistically, this is probably the most naturalistic period of his career in terms of representation, and it coincides with the end of a period which he has described as "mannerist".Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948)."Sisyphus", 1981.Mixed media on paper.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 73 x 103 cm; 84 x 116 cm (frame).In this work we can appreciate Villalta's mastery in portraying architecture. Two different worlds come together to form a whole. The expressiveness of colour coexists with the sobriety and precision of the drawing whose protagonist holds the lunette through which the spectator accesses a world of free chromaticism. The artist plays with perspective, creating a trompe l'oeil where the limits of the work and the frame dialogue with each other, blurring before the spectator. This same resource can be seen in the work, also from 1981, "El políptico largo (Melancolía)", which is in the collection of the Reina Sofía Museum and Art Centre in Madrid.Pérez Villalta was one of the leading representatives of the Nueva Figuración Madrileña. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

Barry Robinson (Local contemporary) scratch art/scraper board depiction of a cheetah, signed within a card mount and slender metallic frame under glass, 29cm x 24cm & 41.5cm x 36cm

A large assortment of fine art and jewellery catalogues, mainly Sotheby’s, including ‘Magnificent Jewels’, Contemporary Art and Scottish Art. In four boxes

** Jeff Koons (b.1955)Balloon Dog (Magenta)Limoges porcelain plate with chromatic coating, 2015, signed on label affixed verso, numbered from the edition of 2300, manufactured by Bernardaud, Limoges, published by the Museum of Contemporary Art, Los Angeles, overall size 266 x 266 x 127mm (10 1/2 × 10 1/2 × 5in)This lot is currently stored in Europe and shipping quotes will be from there rather than from the U.K.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Tobias Harrison (Cumbrian, Contemporary) An art pottery lustre glazed shallow bowl, circular with pronounced everted planar rim, the latter radially decorated in a series of stylized organic motifs, labelled, inscribed and numbered 016, 27 cm [Son of the artists Audrey Johnson and Claude Harrison. Tobias was introduced to pottery at school, achieved an art foundation at Lancaster University, graduated at Central College London and went onto become a thrower at Chelsea Pottery. He established this first studio in 1974 and spent the next 30 years creating art.]

Adam Aaronson (Contemporary): A Tall Studio Glass Vase, with silver leaf decoration, signed to the base Adam Aaronson Collection,1997. (c) Made in England, 30cm high; a studio pottery stoneware vase, tenmoku glaze with drips, painted monogram HFJ and dated 74, 36cm high; a German Art Pottery Thurin ware studio design vase, faint mark, 24.5cm high; and another vase, 35cm high (4)Small chip to the blue vase (third one along in the main image), otherwise all items appear in good condition.

Enid Marx (1902-1998), limited edition patterned fabric for slipcase for An ABC of Birds and Beasts, 12cm x 17.5cm. From the special edition of 75, numbered I to LXXV, this fabric is from set no. XL.. Published by Douglas Cleverdon for Clover Editions, London 1985. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales

NO RESERVE Women & Education.- [More (Hannah)] Essays on various subjects, principally designed for young ladies, new edition, half-title, 8pp. advertisements at end, occasional spotting or light staining, contemporary dark green mottled calf, gilt, spine lacking label and with small piece of leather excised, corners little worn, rubbed, Printed by Whittingham and Rowland; for Sharpe and Hailes, 1810 § Ferguson (James) and David Brewster. The Art of drawing in perspective made easy to those who have no previous knowledge of the mathematics, new edition, the first revised by Brewster, half-title, 4 folding engraved plates, offsetting, occasional spotting, original boards, original printed label to spine, archival tape repairs to spine ends, joints little chipped, but holding firm, rubbed, Edinburgh, Printed for Stirling and Slade; and G. and W. B. Whittaker, London, 1823; and 10 others, similar, v.s. (12)

R WESTNEY: THE WINE AND SPIRIT DEALERS AND CONSUMERS VARD-MECUM CONTAINING INSTRUCTIONS FOR MANAGING FLAVOURING COLOURING PRESERVING AND RECOVERY WINES AND SPIRITS WITH A COLLECTION OF APPROVED RECEIPTS FOR MAKING BRITISH WINES..., London, Lackington & Co, 1817 new edition, 12mo, original printed boards v worn and soiled, lacks back strip plus FREDRICK ACCUM: A TREATISE ON THE ART OF MAKING WINE FROM NATIVE FRUITS... London, Longman Hurst Rees Orme Brown & Green, 1823 second edition, lacks ffep, 12mo, contemporary boards, lacks back strip, disbound (2)

Vinyl - Jazz / Bop - 9 albums by Ornette Coleman and Wes Montgomery, to include: Ornate Colemen - Tomorrow Is the Question (UK original, Contemporary Records, LAC 12228) VG+ / EX-. This Is Our Music (USA Atlantic Records, Green Orange labels, 1353) sleeve EX (still in shrink), vinyl EX, Modo Beta (USA, Artists House, AH 1), The Art Of The Improvisers (USA), The Ornate Coleman Quartet (USA). Milt Jackson - Ballads & Blues (UK, London Records, LTZ-K 15064) 2 Copies, Soul Meeting (EU, Not Now Music), Bags Meets Wes (UK Riverside Records). Condition generally VG / VG with many higher examples

Vinyl - Jazz / Bop - 13 original UK pressings on various labels, to include: Art Pepper - Intensity (original UK, Contemporary Records, LAC 553) VG / VG+, The Elliot Lawrence Band – Plays Tiny Kahn And Johnny Mandel Arrangements (original UK, Vogue Records, LAE 12101) VG+ / VG++, Frank Morgan With Conte Candoli And Machito's Rhythm Section – Gene Norman Presents Frank Morgan (original UK, Vogue, LAE 12012) VG / VG, Vince Guaraldi – In Person (original UK, Vocation Records, LAE-F 597) VG+ / VG++, The Chico Hamilton Quintet , Featuring Buddy Collette – Chico Hamilton Quintet, Larry Sonn And His All-Star Band, Gene Quill, Don Eliot, Coleman Hawkins, Tony Fruscella – The East Coast Jazz Scene - Vol. 1, Howard Rumsey's Lighthouse All-Stars – Sunday Jazz A La Lighthouse, Vol. 1, Chico Hamilton Quintet, Bill Harris, The Mastersounds, Buck Clayton, Hampton Hawes and others. Condition generally VG / VG

Vinyl - Jazz / Bop - 18 original USA / UK pressing albums on Riverside Records, Prestige Records and Contemporary Records, including early pressings and rarities, to include: Nat Adderley - Work Song (original UK 1st pressing, white and blue print labels, Riverside Records, 12-318) VG+ / VG++. The Prestige All-Stars – Soul Jazz Volume One (original USA Pressing, Prestige records, 1009) VG+ / EX-. Johnny "Hammond" Smith – Black Feeling! (original USA, blue labels, Prestige Records, PR7736) VG++ (still in shrink), VG+. Tadd Dameron – Dameronia (original USA pressing, Prestige / New Jazz Records PR 16007 / NJ 8300) VG / VG+, Charlie Byrd – The Guitar Artistry Of Charlie Byrd (US Riverside) + UK Riverside copy, Coleman Hawkins (Prestige), Nat Adderley - In The Bag (USA Riverside), Clark Terry (UK Riverside 1st pressing, white & blue print labels), Clifford Brown (USA Prestige), Oliver Nelson (USA Prestige), The Poll Winners – Ride Again! (USA Contemporary records), Harold Land (USA Contemporary), Art Pepper (USA Contemporary) 2 Different albums, Leroy Walks - 2 USA Contemporary Records albums, The Billy Taylor Trio With Candido. Condition generally VG+ / VG+ with many higher examples

Celia Washington (b.1959). Jonah, artist signed limited edition print no. 2/9, 24cm x 32cm. Label verso, work purchased at York Contemporary Art Fair '88.

A large contemporary oil painting on canvas. by Margaret Turner Petyarre this work of art an example of Australian Indigenous design incorporating Mythological Dreamtime. The painting titled Bush Medicine Dreaming. 95cm x117cm with Valuation Certificate.

A collection of studio contemporary ceramics and a modern glass art vase.

Art Books - a vast collection of art reference books, mostly hardbacks including works by the classics e.g Monet, Picasso and more contemporary artists including Paula Rego, Matisse, some exhibition ephemera, (6 boxes)

A collection of assorted Mid Century ceramics. Including Poole Pottery dish, an art studio pottery jug, a European pottery jug, a slip vase plus a contemporary green glass vase H24cm

The Sir Nicholas Goodison Collection of Automata & Moving Toys (lots 91-160)Sir Nicholas Goodison (1934 2021) was a well-respected businessman, scholar, patron of the arts, polymath (he held a Ph.D. in Architecture and Art History), and philanthropist. He had a remarkable presence in the two worlds of banking and the arts; he was a highly respected chairman of the London Stock Exchange (1976-1986), chairman of the TSB Group (1988-1995), and deputy chair of Lloyds TSB (1995-2000). Outside of his finance, Goodison chaired leading cultural institutions such as the Courtauld (1982-2002), the Art Fund (1986-2002), and the Crafts Council (1997-2005).The collection includes hundreds of traditional mechanical and hand-operated toys from many countries, ranging from commercial toys dating from the 1950s onwards, to major contemporary pieces by leading modern British makers. These mechanically minded artists share a delight in the absurd and the ridiculous, creating toys which occupy the strange, shifting ground between folk art, kinetic sculpture, toy-making, satire and mechanics.Alongside the humorous mechanical sculpture are a large number of toys many of them traditional in design and made in countries all over the world, some hand-crafted, some mass-produced, which either move by themselves (once set off) or can be made to move by anyone with a hand or two. They were all collected by Sir Nicholas over a fifty year period from 1953 during his extensive travels throughout the world.Tony Mann, 1927-2013, Wooden Waves with White Words, a hand wound-automaton, painted wood, hardboard, wire, metals, cotton fabric, string, signed to the front of base Tony Mann 05 and under the base Tony Mann 05 Wooden Waves with White Words, 40cm high, 61cm wide, 31cm deepSir Nicholas Goodison noted: the eight wave pieces rock to and from, driven by a Meccano wheel connected by band to a smaller Meccano wheel on the main shaft. The left end of the eight waves have the painted words Swell, Swirl, Splish, Squish, Swoosh, Slap, Splosh, Splash, all indicative of the wetness of ocean sailing. The right hand ends have the words Squall, Sparkle, Spume, Shine, Salt, Sun, Spray, Surf, other characteristic of the open ocean. The yacht rides on the Swoosh/Salt wave, connected to it loosely by screw and rolling owing to a wire connection to an eccentric pin on the drive wheel at the rear. Thus it rolls as well as pitches, but the single-handed yachtsman looks undismayed. The gulls ride freely, attached by wire and with weights to ensure that they ride on the waves convincingly. The purpose of the red-topped post is not clear, but at least the yacht has cleared it, one hopes to portProvenance: Purchased Tony Mann, British Toymakers Guild, Oxo Tower, London, November 2006.Note: Tony Mann, 1927-2013, worked for 20 years as an industrial designer before turning his creative energy into automata. Each is a one-of-a-kind piece and show his love of bright colours.He was voted Toymaker of the Year by the British Toymakers Guild for both 1987 and 1988.Roseberys do not guarantee the working order of any automata or toy.Condition Report: In good condition consistent with use. Bearing Sir Nicholas Goodison's inventory number. 

CONTEMPORARY ART DECO DESIGN CARPET, 370cm x 270cm.

A small collection of mainly contemporary jewellery to include silver examples together with an art glass paperweight and bowl.

Two Royal Doulton Figurines Noelle and Top O the Hill. Together with two contemporary art deco themed lady figurines

Jan Sweeney, M.R.S.S., S.A.A. (British, Contemporary) - two 20th century animalier bronzes: a crouching fox and a resting hare, both unsigned. (The fox 20 cm and the hare 12 cm)The daughter of an Irish vet, Jan Sweeney grew up in the open countryside of East Anglia, on the east coast of England.  Her early training was at Colchester Art School, and she followed this with three years working in Verona, Italy, under sculptor Mike Noble.  She first visited Africa in 1985, where the African scene and wildlife had a powerful influence on her work.

A contemporary Art Glass vase, of compressed ovoid form internally decorated with smoky blue to black and cased in clear crystal, unmarked, height 18cm.

STUART MCALPINE MILLER (SCOTTISH, CONTEMPORARY) - 'Cry Baby', oil on canvas, signed with monogram, framed, 77cm x 61cm, frame size 79cm x 63cm. Provenance - Purchased by the vendor at Castle Fine Art, Birmingham, 2015. NB - This lot may be subject to Artist's Resale Right levy.

STUART McALPINE MILLER (SCOTTISH, (CONTEMPORARY) - 'Revealed - A Personal Study', the set of four limited edition giclee prints on paper comprising Resistance is Futile, My Life is Mayhem, Sunshine Rays from a Far-away Land and Stretching the Boundaries, each signed in pencil and numbered 9/95, published by Washington Green Fine Art, 2013, with COAs, unframed, sheet size 71.2cm x 49.5cm, in original printed black card portfolio. NB - This lot may be subject to Artist's Resale Right levy.

StonewareImpressed "WEDGWOOD"(H: 8 3/8, Dia: 4 3/8 in.)Qty: (1)ProvenanceCollection of Dr. Ellis F. Rubin and Suzanne Borow RubinLiteratureAdams, Elizabeth Bryding, The Dwight and Lucille Beeson Wedgwood Collection, Birmingham Museum of Art, Birmingham, 1992, p. 217, cat. 173Buten, Harry, Wedgwood Rarities, Buten Museum of Wedgwood, Merion, 1969, p. 313 (for a discussion of this body)Edwards, Diana, Black Basalt: Wedgwood and Contemporary Manufacturers, Antique Collectors' Club, Woodbridge, 1994, p. 99 (for an earlier example of the same form)Examined under UV light with no evidence of restoration. No condition issues noted.

Early 19th Century Folk Art, American School 'Young Girl with long Ringlets, wide Collar, white Shirt and blue Jacket, with Handbag over her Shoulder and Riding Crop in hand,' O.O.C., approx. 64cms x 51cms (25' x 20'), in contemporary gilt frame. (1)

Moller (Georg). Beiträge zur Kenntniss der deutschen Baukunst des Mittelalters, Darmstadt: Heyer and Leske, 1821, 72 engraved plates, fore and bottom edge untrimmed, lightly spotted, contemporary half calf gilt over green marbled boards, joints weak, rubbed, folio, together with:Society of Antiquaries of London. Vetusta Monumenta quae ad rerum Britannicarum memoriam conservandam Societas Antiquariorum Londini sumptu suo edenda curavit, volumes 4 & 5 only [of 6], London: 1815, 84 engraved plates, armorial bookplate of F.E. Sotheby to front pastedown, lightly dust-soiled, hinges repaired. later blue half morocco gilt, rubbed, folio, with another relatedQTY: (3)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Tillander (Herbert). Diamond Cuts in Historic Jewellery, London: Art Books International, 1995, black & white illustrations throughout (including frontispiece), neat ownership inscription to front free endpaper, original blue cloth gilt, 8vo, with original blue cloth slipcase, together with:Bauer (Max). Precious Stones, a popular account of their characters, occurrence and applications, translated from the German with additions by L.J. Spencer, 1st edition, London: Charles Griffin and Company, 1904, half-title, colour frontispiece (with captioned tissue-guard), illustrations throughout (some full-page, some colour & tissue-guarded), 'Imperial Institute Scientific Department' stamps throughout, light dust-soiling & spotting, contemporary red half morocco gilt, worn, large 8vo,Gübelin (Eduard J, John I. Koivula). Photoatlas of Inclusions in Gemstones, presentation copy, Zurich: ABC Editions, 1986, inscribed to Roger Harding by both authors to title, colour illustrations throughout, original pictorial black boards, rubbed, 8voQTY: (3)

Facsimile Atlas. Ptolemy (Claudio), Geographia Ptolemaeus Auctus Restitutus Emaculatus, cum tabulis veteribus ac nobis, West of England Press Ltd. Tavistock, 1975, printed title and introduction, 47 double-page uncoloured maps, limited edition 61/250, signed by the Lord Mayor of Plymouth, publisher's morocco gilt, folio, contained in the publisher's red cloth slipcase, together with Rocque (John). An Exact Survey of the Cities of London and Westminster, The Borough of Southwark..., Harry Margary, Lympne Castle, Kent, 1971, double-page title and introduction by James Howgego, 41 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, plus a separately bound index, with Morgan (William). London &c. Actually Surveyed and a Prospect of London and Westminster..., Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1977, double-page title and introduction by Ralph Hyde, 12 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, with Ogilby (John). A Large and Accurate Map of the City of London..., Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1976, double-page title and introduction by Ralph Hyde, 21 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, plus Stanford (Edward). Stanford's Library Map of London and its Suburbs, Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1980, calligraphic title, introduction by Ralph Hyde, key plate and 24 uncoloured map sheets, publisher's red cloth, with title label to the upper siding, oblong folio, with another unbound copy, loose and rolled, and Poley (Arthur F. E.). St. Paul's Cathedral London, Measured, Drawn & Described, Archive facsimile edition, Barracuda Books, 1984, black & white plates and plans, limited edition, number 58, top edge gilt, publisher's half morocco gilt, slight dust soiling to the boards, large folio, together with:Cellarius (C.). Geographia Antiqua: Being a Complete Set of Maps of Antient Geography..., C & J Rivington, Longman, Hurst, Rees, Orme, Brown and Green, 1824, double-page calligraphic title page, contents list, 33 (complete as list) uncoloured double-page maps engraved by R. W. Seale and W. H. Toms, very slight spotting, near contemporary ownership signature to the verso of the title page, later endpapers, modern half calf gilt, 4to, plus:The Times Atlas. 1896, title and index, 116 colour printed lithographic maps (complete as list), index bound at rear, presentation inscription to the rear of the front endpaper, all edges gilt, contemporary half morocco gilt, worn and frayed, folio, George Philip & Son Ltd (publishers). Philips' International Atlas, 1931, title, preface and contents list, double-page frontispiece of the flags of all nations, 158 maps (complete as list) index bound at rear, presentation inscription to the front endpaper, contemporary cloth with gilt title to upper siding, spine faded, folio, with Ordnance Survey Office (publishers). Ordnance Survey Atlas of England & Wales, 1922, printed title, 24 double-page colour lithographic maps, laid on linen, index bound at rear, bookplate of the Flyfishers' Club, pastedowns stained, hinges and joints broken, preliminaries and first few leaves detached, text block and boards near detached, lacking spine, heavily worn and frayed, oblong folio, plus Yriarte (Charles). Venise. Histoire - Art - Industrie - La Ville - La Vu, Paris, 1878, additional half-title, numerous wood engravings throughout, top edge gilt, contemporary half morocco gilt, worn and frayed at extremities, spine faded, folioQTY: (13)

Boutcher (William). A Treatise on Forest-Tress:..., Edinburgh: printed by R. Fleming, 1775, engraved half-title, some light spotting & toning, front board & endpapers detached, rear board & endpapers partially detached, contemporary full calf, boards & spine rubbed with some loss, 4to, together with:Tullii (Marci), Ciceronis de Officiis, de Amitcitia et de Senectute Libri, Paris: Antonium Augustinum Renouard, 1796, engraved title page, bookplate to the front pastedown, front gutter cracked, some minor toning, contemporary red half morocco, boards & spine rubbed with some loss, folio, plusMabill (D.), Iter Italicum Litterarium Annis MDCLXXXV & MDCLXXXVI, circa 1637(?), 244 pages, engraved plates, period inscription to the foot of pp.3, bookplate to the front pastedown, some toning & minor spotting,contemporary limp vellum, slightly rubbed & faded, 4to, and other 17th-19th-century literature & art reference, mostly leather bindings, some original cloth/boards, overall condition is generally good, 8vo/folioQTY: (3 shelves)

* Architectural drawings. A group of 8 plans, drawings and elevations, by Mervyn Handley, mid-20th century, including designs for: Institute of Contemporary Art in Russell Square (dated 1949); Factory at New Cross for Messrs Avern & Bucknall Ltd; Perspective Sketch of Medical Officers House (1947); Design for a Town Square (1948); Labour Saving Kitchen (1948), all with hand-colouring in gouache or watercolour, 7 on thick wove paper, one on thin wove paper laid down on board, 7 in pen & black ink, some pencil, all but one signed, 6 dated, generally dusty, few edge losses and tears, one with staining to lower right corner, affecting signature, sheet sizes 54 x 75 cm and similar, the largest 50 x 86 cmQTY: (8)

* Miller (Stewart McAlpine, 1964-). Comic Faced Chick, giclee on canvas, depicting a woman surrounded by D.C. Comic characters in an abstract composition, titled on canvas, monogrammed to lower left, signed lower right, image size 101.6 x 76.2 cm (40 x 30 ins), framed (121 x 142 cm)QTY: (1)NOTE:Miller studied at the Glasgow School of Art. He was Artist-in-residence at Kimpton Charlotte Square Hotel, Edinburgh in 2021 and has exhibited at The Savoy Hotel in 2018, HG Contemporary in 2016, Halcyon Gallery in 2015 and State-of-the-Arts Gallery in 2011.

A pair of contemporary George III style wing armchairs, by Parker Knoll, stuffed-over aubergine leather upholstery, squab cushions, 103.5cm high, 77cm wide, the seat 44cm wide and 56cm deep (2)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A pair of contemporary drawing room sofas, in the manner of Howard & Sons, 84cm high, 136cm wide, the seat 104cm wide and 53cm deep (2)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A contemporary four-piece drawing room suite, in the manner of Howard & Sons, comprising a pair of sofas and a pair of armchairs, the sofa 85cm high, 132.5cm wide, the seat 104cm wide and 52cm deep, the armchair 86.5cm high, 79cm wide, the seat 52cm wide and 53cm deep (4)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A contemporary Chesterfield sofa, stuffed-over deep-button upholstery, 67cm high, 195cm wide, the seat 142cm wide and 54cm deepNB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

PAMELA BONE (1925-2021) Six Creative Colour Landscapes, printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

Tessa Beaver (Britsh, 1932-2002),"Interior With White Leaved Plant",Limited edition print on paper,Signed, titled and numbered "/150" to lower margin,Christies Contemporary Art certificate of authenticity verso,75.5cm x 57cm (sheet),Framed and glazed

Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child. 

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Musician" and "Sketch of a street scene".Mixed media on paper (recto). Pencil on paper (reverse).Signed in the lower corner.Measurements: 37.5 x 26.5 cm; 58 x 49 cm (frame).Painter, draughtsman and cartoonist. In his youth he participated in the Barcelona modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

FRANCISCO FARRERAS RICART (Barcelona, 1927).Untitled, 1958.Mixed media on canvas.Signed and dated in the lower right corner and on the back.Presents a label from the Biosca gallery in Madrid.Measurements: 51,5 x 38 cm; 66 x 52 x 4 cm (frame).Francisco Farreras Ricart began to develop his artistic vocation at a young age thanks, at least at the beginning, to Antonio Gómez Cano from Murcia and Mariano Cossío, when he started studying at the School of Arts and Crafts in Santa Cruz de Tenerife. He continued his apprenticeship at the San Fernando School in Madrid, where he obtained the title of Professor of Drawing in 1949, and in Paris, Belgium and Holland thanks to his study trips. At the end of the 1950s his style was geometric, using thick materials; later, when he discovered silk paper, he developed the possibilities of this material, especially with a large number of collages, and his work has been exhibited, since 1954 when he began his professional artistic career, in numerous cities both in Spain and abroad (Madrid, New York, Munich, Logroño, Gijón, Elche, Lisbon, Oporto, Alicante, Berlin, Buenos Aires, Granada, Lahr in Germany, Majorca, Geneva, California, etc.). It is also held in numerous private collections around the world and in institutions such as the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Carnegie Institute of Pittsburgh in Pennsylvania, the Centro de Arte Contemporáneo de Almada in Portugal, the Honolulu Academy of the Arts in Hawaii, the Chaux de Fonds Museum of Fine Arts in Switzerland, the National Museum of Modern Art in Paris, the Museum of Contemporary Art in Madrid, the Museum of Fine Arts in Bilbao, the Patio Herreriano Museum in Valladolid, the Vienna Museum of the 20th Century in Austria, etc.

Spanish school of the late 18th-early 19th century. Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850)."Portrait of a lady, possibly of Queen Maria Cristina de Borbón".Gouache on vellum.Bronze frame.Measurements: 8,5 x 7 x 0,5 cm.We are in front of a miniature in which, most probably, Queen Maria Cristina de Borbón is represented, queen consort of Spain by her marriage with the king Fernando VII from 1829 to 1833, and regent of the Kingdom between 1833 and 1840, during most of the minority of her daughter Isabel II. The wedding portrait that Vicente Lopez Portaña painted of her in 1830, now in the Museo del Prado, bears aesthetic similarities to the present miniature. There is another portrait by Luis de la Cruz y Ríos, also in the Spanish art gallery, in which the pose and affable gesture bear close similarities to our work.Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society and alternated his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.

JOSÉ HERNÁNDEZ MUÑOZ (Tangiers, Morocco, 1944 - Málaga, 2013)."Boundary Nature I", 1987.Oil on canvas.Presents label of the Biosca Gallery (Madrid).Signed and dated in the lower right corner.Size: 38 x 46 cm.In the eighties, the work of José Hernández undergoes a formal purification. He abandoned the fantastic characters with which he became known and explored the plasticity of metaphysical natures full of enigma. This work is an example of this evolution.José Hernández is one of the great references of contemporary Spanish art. His work is one of the most personal and brilliant contributions to fantastic art in recent decades, both as a painter and draughtsman, illustrating the works of Buñuel, James Joyce, Rimbaud, Gustavo Adolfo Bécquer and Akutagawa, as well as designing scenery and costumes for works by García Lorca, Calderón de la Barca, Cervantes, Francisco Nieva and Carlos Saura. His first individual exhibition took place in Tangiers in 1962, and two years later he showed his work again at the Edurne gallery in Madrid. From 1966 onwards he held personal exhibitions and took part in international fairs both in Spain and in Paris, Brussels and Tokyo, among other cities. His intense creative work extends over five decades, making up one of the most outstanding careers, not only in the Spanish art scene, but also in the world, given his significant international projection. Throughout his career he has received awards for his work in painting, drawing, engraving and scenography in Spain, Germany, Poland, Bulgaria, Italy, Norway and Yugoslavia, with special mention for the National Prize for Plastic Arts (Madrid, 1981), the International Biella per L'Incisione (Italy), and the Medals of Honour of the International Exhibition of Modern Ex Libris in Malbork (Poland) and the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. His work is represented in numerous public collections and museums in Spain, Germany, the United States, Finland, Luxembourg, Chile, Poland, Norway, Bulgaria, Mexico, France and Italy.

RAFAEL DURANCAMPS I FOLGUERA (Sabadell, 1891 - Barcelona, 1979)."Capea in the village. Thunder at the fair".Oil on canvas.Signed in the lower right corner.Measurements: 37,5 x 84,5 cm; 59 x 105,5 cm (frame).Rafael Duran i Camps, better known as Durancamps, was a disciple of Vila Cinca in the Industrial School of Arts and Crafts of Sabadell. He later met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps' first period. He exhibited for the first time in 1917 at the Galerías Layetanas in Barcelona, and his success encouraged him to continue painting despite his family's opposition. He spent several periods in Madrid, where he studied the masters of the Prado Museum, and then travelled to Italy. He returned to Barcelona and took part in various competitions, winning important prizes such as the Masriera medal in 1920, as well as holding several exhibitions at the Sala Parés. In 1921 he travelled to Paris for the first time. His work at this time is close to Impressionism, but also shows the influences of Zurbarán, El Greco and Venetian colourism, combining the precision of the drawing with the gravity of the colour. In 1926 he returned to France and settled in Passy, where he lived until 1939. During these years he met Picasso, who encouraged him to hold exhibitions at the Zak gallery, where he enjoyed considerable success, which increased with his successive exhibitions. He returned to Spain and settled in San Sebastián, but continued to work closely with the Sala Parés, where he continued to hold exhibitions until his death. He also held various exhibitions in Madrid, Sabadell, Bilbao, Valencia, London and Philadelphia. Although his first period was influenced by Mir, Durancamps soon evolved towards a more personal conception, giving special prominence to the constructive line and a peculiar colouring of sober beauty. His still lifes, which he treated with a profusion of line and transparency, are a prodigy of serenity and elegance, with such a personal stamp that they escape any contemporary classification. His landscapes and genre scenes, especially the "capeas" in various Spanish villages, are highly emotive. The "skies of foreboding" that express the drama of the fiesta evoke his acute lyrical sense. He is represented in the Museums of Contemporary Art in Barcelona, Madrid, San Sebastián and Buenos Aires, as well as in a large number of Spanish and foreign collections.

JUAN ALCALDE (Madrid, 1918-2020)."San Sebastián".Oil on canvas.Signed in the lower corner.Presents label of the gallery Biosca of Madrid.Measurements: 97 x130 cm.Port view of the city of San Sebastián, in which the painter reduces the reality to elementary geometries, remaining nevertheless within the margins of the figuration.A member of the Spanish School of Paris, Juan Alcalde trained at the School of Arts and Crafts in Madrid, at the Museum of Artistic Reproductions and at the Círculo de Bellas Artes, later enrolling at the San Fernando School of Fine Arts. In 1960 he travelled to Paris, and in 1963 he took part in the collective exhibition "Artistes Espagnoles á París". From then on he exhibited his work regularly in Spain, London, Zurich, Caracas, Sweden and Paris. His work is clearly marked by expressionism and metaphysical painting. Since his first exhibition, held in 1940, he has presented his work in various European and American cities. His painting is a national sign of contemporary art, and he represented Spain in official exhibitions in Paris, Caracas, Madrid, Barcelona, Valencia and London. He is represented, among many others, in the Museo del Dibujo Castillo de Larrés in Huesca, the Museo de la Universidad de Puerto Rico, the Museo de la Villa in Paris, the Saint Queen in France and the Museo de Arte Contemporáneo in Madrid.

CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Embarcadero".Oil on canvas.Signed in the lower right corner.Measurements: 73 x 92 cm; 91 x 109 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris three times thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.