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DILYS PINION (20TH CENTURY CONTEMPORARY)'PIGGS PEAK'etching in colours, signed, titled and numbered in pencil5/3028cm x 38cmwith certificateProvenance: Business Art Galleries

AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Ceria temblor", 1995.Oil on canvas.With label on the back from Fauna's Gallery (Madrid).Signed in the lower right corner.Measurements: 27 x 38 cm; 40,5 x 48,5 cm (frame).A surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.

NURIA LLIMONA RAIMAT (Barcelona, 1917 - 2011)."Calvary".1964.Fire enamelled terracotta.On wooden panel.Signed and dated on the back.It presents cracks and damages.Measurements: 41 x 27 cm (Christ); 47,5 x 33 cm (frame).Daughter of the painter Joan Llimona and niece of the sculptor Josep Llimona, Núria discovered her early vocation at the age of twelve. During the 1930s she studied at the Barcelona School of Fine Arts, which was closed during the years of the Civil War because of the danger of bombing, given its proximity to the sea. After the war, Llimona resumed his studies and obtained his degree, which enabled him to teach for fifteen years at the same school. He held his first solo exhibition at the Syra gallery in Barcelona, and since then he has held personal exhibitions at other galleries such as Novell and Parés, as well as with different groups. She has also taken part in official exhibitions, winning several prizes, and was president of the 9th and 10th editions of the Salón Femenino de Arte Actual. In 2000, Núria Llimona received the Sant Jordi Cross, and in 2006 she was awarded the Barcelona Medal of Honour. She is currently represented in the Museums of Contemporary Art in Madrid and Barcelona.

Pair of Venetian torchbearers, late 19th century.Carved, polychromed and gilded wood.Electrified for lamps.Measurements: 174 x 31 x 32 cm. q.c. (total measurements).African models were used to characterise this type of sculptural furniture which was popular among the aristocratic classes in the Baroque period, but which the decorative art of the 19th century recovered, endowing them with new aesthetic connotations. As we can see, they have been carved, stewed and polychromed with exquisite care. The suppleness of the bodies, the curled hair, the brocade of the garments, the folds and pleats of the drapery, the soft cushions... every detail reveals the high quality of the carving. In keeping with the contemporary taste of the time, the neoclassical imprint can be seen in the lightness of the postures, the elegance of the movement, the harmony of the proportions and the physiognomic features. This type of subject matter, or the representation of oriental characters, began to develop in the aesthetic currents of 17th century Venice, and became very successful in the following centuries. It came to dominate different areas of the decorative arts, which was initiated by the cabinetmaker and sculptor Andrea Brustolon (1662-1732). His furniture was characterised by the abundant presence of sculpture applied practically in the round. His most characteristic figures were black figures such as the one shown here, ebonised and painted, which served as supports for large pieces of furniture or were free-standing. These figures were so popular throughout Europe that they became a key element in luxury furniture from the Baroque period until well into the 18th century and, as part of the historicism of the 19th century, they were given a new lease of life in the 19th century. They are pieces of exceptional carving quality, conceived as independent works of art. The iconography is the result of the taste for the exotic that characterised the 18th century, and which continued into the 19th century through the Romantic spirit, which liked to reflect and fantasise about everything that was different and distant, both in time and space. This piece recreates the idealised eighteenth-century Venetian world, which in the new industrial century symbolised an elegance and luxury that could never be recovered. This type of piece was meticulously and exquisitely worked, paying as much attention to the carving as to the polychromy, which freely and fancifully reproduced rich embroidered fabrics.

VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Twilight".Oil on canvas.Signed in the lower left corner.Work exhibited at the Witcomb Salon in Buenos Aires, 1930. Referenced in the catalogue of the exhibition with n.84.Measurements: 91 x 91 cm; 112 x 112 cm (frame).This is a type of composition that Valentín Zubiaurre used repeatedly, and which here manages to express a genuine feeling: with the members of a family in the foreground (in this case, a grandmother and her grandchildren) and the Basque landscape opening up behind them, with fields, farmhouses and rocky outlines. In the self-absorbed faces, the contrast between the smoothness of the young faces and the aged skin of the old woman stands out. The ochre and sienna tones dominate the whole, lending the painting a melancholy patina. This work falls 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, with the development of an art with a Romantic, costumbrista and realist heritage, which focused on depicting subjects and characters that reflected a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, 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 San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990).Untitled.Set of three serigraphs on paper.Edition of 25 copies.Signed and justified.Slight damp stains.Measurements: 38 x 41 cm (total of the largest).Joan Brotat studied at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona. He held his first exhibition on the initiative of Ángel Marsà, who invited him to take part in his Cycle of Experimental Art in 1950. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. After an initial period characterised by a modernist-influenced language and conventional subject matter, his style evolved towards a primitivism that made him very famous. Brotat adopted the viewpoint of the old Catalan Romanesque painters to the narration of contemporary life, bringing an apparent naivety to his compositions that earned him notable success. During these years he also experimented with informalism, collage and gestural art within the Dau al Set group. In the 1960s, when he returned to figurative art, his style became consolidated, characterised by figures with large, melancholic faces, the application of colours in flat patches and the absence of perspective in his compositions. His awards include the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among others. Brotat is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Museums of Modern Art in Madrid and Alexandria and the Municipal Museum in Valls.

PAUL GUSTAVE DORÉ (Strasbourg, 1832-Paris,1883)."The Divine Comedy".Set of three photogravures.They show stains of dirt and some wrinkles on the paper.Measurements: 24 x 18 cm (print, x3) ; 47,5 x 35 cm (paper, x3)Set of three photoengravings representing scenes from the Divine Comedy, written by Dante. Paul Gustave Doré was a French Alsatian artist, painter, sculptor and illustrator, considered in his country the last of the great illustrators. He began his artistic training working with Charles Philipo, who published one lithograph a week for him. He later received various commissions from François Rabelais, Honoré de Balzac and Dante Alighieri, which meant that, while still very young, he was paid more than his contemporary Honoré Daumier. In 1853 he illuminated some of Lord Byron's works. In 1862 he travelled around Spain with Baron Davillier. As a result of the trip, the following year he published a series of chronicles on Valencia, Galicia, Andalusia, with specific stays in Granada, Madrid and other Spanish capitals. The work was included in the collection Le Tour du Monde. In the 1860s, Doré illustrated a French edition of Miguel de Cervantes's The Ingenious Hidalgo Don Quixote of La Mancha, based on his life experience in Spain. Doré later signed a five-year contract with the publisher Grant & Co. This meant that he had to spend at least three months a year in London. The book London: A Pilgrimage, with 180 engravings, was published in 1872. Although it was a commercial success, many critics disliked the publication, scandalised by the fact that Doré depicted London's poverty in his work. He was accused by the Art Journal of being a "fantasist rather than an illustrator", and denounced in other leading journals such as the Westminster Review. However, the success of London: A Pilgrimage led to many more commissions from English publishers.

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Sala Gaspar, Barcelona".Lithograph on paper, copy 3/3.Signed and dated in pencil by Pablo Picasso.Presents certificate from the Sala Gaspar.Measurements: 24 x 18 cm; 39 x 34 cm (frame).This lithograph is a Christmas greeting card from the 1960s from the Sala Gaspar in Barcelona. It is signed by Pablo Picasso, both in plate and by hand. It is an invitation addressed to Marisol de Villanueva, an actress and director of western cinema, who was also a good friend of the cubist artist.Pablo Ruiz Picasso is the great genius of contemporary painting. The creator of Cubism together with Braque, his capacity for invention and creation places him at the pinnacle of world painting. He was born in Malaga, where his father was a drawing teacher and director of the Municipal Museum. The Ruiz Picasso family soon moved to A Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the style of the school was entirely academic, the painter soon came into contact with modernist groups which changed his form of expression. Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything, but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with bright colours and strange shapes.In the 1950s he made several series of important classical paintings which he reinterpreted in homage. By the 1960s he had become a legend in the art world and the artist lived his last years at the Château de Vouvenargues, where he was able to continue his work until the end of his life. An example of this work is this Christmas invitation.

MATTEO MAURO, (Catania, Sicily, 1992)."She", 2020.Resin sculpture.Finished with gold and white satin varnish.Limited edition of 190/200.The work will be available approximately 15 days after payment has been made.Dimensions: 25 x 10 x 10 cm.Matteo Mauro observes and explores the world with the eyes of an artist. He looks for new solutions and embraces old ones in his infinite mediation between reality and dreams. His artistic process mixes analogue and digital tools to generate artworks with a distinctly contemporary sensibility, which critics have deemed hyper-contemporary. Matteo Mauro's studio creates a wide range of artworks, including sculptures, paintings, video art, installations and augmented reality pieces.The artist was born in Sicily, but has lived and travelled in many countries. He spent more than a decade in London, where he first established his artistic practice and continues to live today. Mauro has worked and studied with several influential designers, including Ron Arad and Isaie Bloch, and has taught Digital Communication at London's LSBU and UCL universities.Mauro has received numerous awards for his work, including the Master of Art 2018 and the European Excellence of Arts and International Van Gogh Prize, awarded by Roy Dalí, son of Salvador Dalí.His pieces have been exhibited in several museums and galleries, including the Royal Academy of Arts, the Museo Marte, the Museo della Fabbrica, Le Salon des Indépendants at the Grand Palais in Paris, the Ing-Creatives in Dubai, the Songyang Museum Contemporary Art, the Fondazione Museo Crocetti, while some exhibitions are scheduled at the Datong Art Museum and the MACAM Modern and Contemporary Art Museum in the near future.However, Matteo Mauro does not limit himself to painting or creating artworks, but is also the author of the worldwide distributed book Inscripciones Micromegálicas. Matteo Mauro's studio is currently located in Catania, Italy.

RAFAEL CANOGAR GÓMEZ (Toledo, 1935).Untitled".Mixed media on paper glued on panel.Signed in the lower left corner.Size: 18 x 14 cm; 40 x 36 cm (frame).Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon entering the path of abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a visiting professor at Milles College California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. Canogar has given workshops and lectures in several European and American countries, and has participated in juries of international prizes and biennials. He has also been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the Sofia International Painting Triennial (1982), the National Prize for the Plastic Arts in Madrid (1982), etc. He has also been named Chevalier de l'Ordre des Artes et Lettres of France, has received the Encomienda de la Orden de Isabel la Católica, is a numerary member of the Academia de San Fernando and Doctor Honoris Causa by the U.N.E.D. Canogar is currently represented in the most important modern art collections around the world, such as the Museo Reina Sofía, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Museo Rufino Tamayo in Mexico and the Chicago Art Institute, among many others.

VIVIANE BRICKMANNE (Belgium, 1957)."Small Egyptian head".Patinated bronze. Exemplary 2/25Signed on the lower back.Measurements: 22 x 16 x 9 cm.Of Belgian origin, Viviane Brickmanne, lives and works in Madrid. She graduated in Philosophy and Letters at the University of Louvain. In fact, this classical, literary and poetic training was a conceptual influence in her first figurative sculpture. In which the concept of air and space was a premise that he later developed in his winged figures and in works of a more abstract nature where ascending lines always prevail. This content can also be seen in his "Mutants" sculptures, which represent stylised young women trying to escape from the earth and take flight towards an unattainable freedom, as their metallic or vegetable wings keep them anchored to the ground. Underlying these works is the idea of fragility and disintegration. He has worked with different techniques, among which bronze stands out. Aluminium and brick where he sometimes incorporates leaves or decomposing pomegranates. Thus counterposing an organic element with a manufactured one, and at the same time the concept of the feminine with the masculine.Brickmanne began her exhibition career in 2003, participating in various group exhibitions. Since then she has participated in several national and international exhibitions, both as a group and solo artist, including group exhibitions at AAF New York in 2013, Art Santa Fe, Gaudi Gallery in South Korea, AAF Hamburg in 2014, Feriarte in 2017, SumArte at the Ateneo de Madrid in 2018 and Studio Lisboa in Portugal in 2018, among others. Individually she has shown her work at the Belgian pavilion in Zaragoza in 2008, at the Atalante gallery in Madrid in 2011 and at the Hotel Hisperia in 2017. She has been awarded several prizes in recognition of her work, including the trophy for the Plus es más awards, Bayard editions, the Cara al viento prize from the Belgian and Luxembourg Chamber of Commerce in Spain and the Spanish-Dutch forum, and the First Primavera Sculpture Prize from the International Association for the Arts. His works have also been published in the magazine Plaform Prees, April 2000, the magazine Plus es mas in 2012 and the project on conservation of contemporary sculpture. Study of the sculpture Eurydice for the Faculty of Fine Arts, Complutense University of Madrid. 2014.

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Virginity of colour", 2022.Pastel and oil on canvas.Attached certificate issued by the artist.Signed and dated on the back.Measurements: 90 x 90 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.

JAUME PLENSA (Barcelona, 1955).Untitled.Etching in aquatint.Hand signed in the lower margin.Size: 22 x 13 cm; 39 x 29,5 cm (frame).Jaume Plensa studied at the Llotja School and at the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

RICARDO RODRIGUEZ, (Valencia, 1992)."3G".Oil on canvas adhered to board.Size: 146 x 114 cm.Ricardo Rodriguez's beginnings in the artistic field started in his childhood thanks to his grandmother Presen Rodriguez, one of the most important designers in Valencia. His aptitudes for drawing and painting are remarkable, and he also managed to forge his own personality and language. Her inspiration comes from the contemporary world, from the present day, although, on occasions, she decides to look back in the history of art to come up with creations such as the one in this lot. "3G", a very modern title for a work that draws on the classical past rescued in the 18th century by Antonio Canova with "The Three Graces". The almost essential part of the composition, its facial expressions, movements and the relationship between them, is rescued from the sculptural ensemble. The cold texture of the marble becomes latent in this representation in which the three daughters of Zeus and Eurynome: Euphrosine, Aglaya and Talia, have been captured in a delicate and graceful manner.

JAUME PLENSA (Barcelona, 1955).Untitled, 2015.Etching.Hand signed and dated. Size: 101 x 70 cm; 119,5 x 89,5 cm (frame). Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both in terms of material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums in Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

GINO RUBERT (Mexico City, 1969).Untitled.Mixed media on canvas.Size: 167 x 150 cm; 175 x 158 cm (frame).As can be seen in this painting, Rubert's works have an ironic sense of humour and are charged with a subtle and naive eroticism. Interested in personal and sentimental complexities, he explores romance and relationships in contemporary society by delving into love, sex and the couple. Rubert's canvases often possess different layers of meaning. In this particular work the artist structures the work in three spaces, presenting the image as if it were a diorama or a doll's house, which allows us to admire its interior, without inhabiting it. This type of work in which the space is compartmentalised is frequent in his production, with his painting Vanity Fair (an altar without a hero) standing out.A Mexican painter based in Barcelona, where he combines his artistic practice with teaching at the Eina and Massana schools, Gino Rubert studied fine art at the Parsons School in New York. He has held exhibitions all over the world, and is represented in the collections of L'Oréal, Arte Contemporáneo de Pamplona, Testimoni de La Caixa, Banco de España, Honda, Caja Madrid, Giuseppe Castiglioni, Academia de España en Roma, Academia de San Fernando, Fundación Antoni Vila Cases, Gregory Fowler, Delvaux Collection, the Shering Museum in Spanbroek, the Steinkamp Collection and many others. Selection of solo exhibitions: 2014, Ex-voto, Senda Gallery, Barcelona.2012, True Love, Claire Oliver Gallery, New York.2010, Galerie Michael Haas, Berlin.2010, Can Sisteré Centre d'Art Contemporani, Santa Coloma de Gramanet.2009, Irma lentamente, Senda Gallery, Barcelona.2009, Círculo de lectores, Barcelona.2008, La lección d'anatomía, Museo del Ampurdán, Figueras.2008, Spoiled Boy, Artrepco Gallery, Zúrich.2007, Spielzimmer, Anita Beckers Gallery, Frankfurt.2007, True Blues, Mizuma Gallery, Tokyo.2006, Morocha, Galería Senda, Barcelona.2006, Playtime, Museo Gustavo de Maeztu, Estella.2005, De-géneros, Museo de la Universidad de Alicante, Alicante.2005, Noc Noc, Museu Nacional d'Art de Catalunya, Barcelona.Berlin.2010, Can Sisteré Centre d'Art Contemporani, Santa Coloma de Gramanet.2009, Irma lentamente, Senda Gallery, Barcelona.2009, Círculo de lectores, Barcelona.2008, La lección d'anatomía, Museo del Ampurdán, Figueras.2008, Spoiled Boy, Artrepco Gallery, Zúrich.2007, Spielzimmer, Anita Beckers Gallery, Frankfurt.2007, True Blues, Mizuma Gallery, Tokyo.2006, Morocha, Galería Senda, Barcelona.2006, Playtime, Museo Gustavo de Maeztu, Estella.2005, De-géneros, Museo de la Universidad de Alicante, Alicante.2005, Noc Noc, Museu Nacional d'Art de Catalunya, Barcelona.2005.

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Valerie".Watercolour on paper.Signed with stamp.With label on the back of the Alcolea Gallery.Size: 15,5 x 20,2 cm; 33 x 38 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the stroke and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.

CRONICA TEAM (Valencia, 1964 - 1981)."Spectator of Spectators".Sculpture in papier-mâché and painting.Edition of 100.Exhibitions: "Encuentros del 72"; Pamplona-Iruña (Merindad de Pamplona, Comunidad Foral de Navarra), 26/06/1972-03/07/1972.Bibliography:- José Díaz Cuyas; et alii. Encuentros de Pamplona 1972: Fin de fiesta del arte experimental. Madrid : MNCARS, 2009. pp. 194-195.- Rafael Doctor Roncer. Approximations I. Contemporary Spanish art in the Helga de Alvear Collection. Cáceres : Centro de Artes Visuales Fundación Helga de Alvear, 2011. pp. 13, 22, 27.- Joan Fontcuberta and Joana Hurtado. Resiliència. Joan Fontcuberta. Barcelona : Galería Manel Mayoral, 2010. n.p.; ill. colour.- Arturo Navallas; et alii. The Pamplona meetings 25 years later. Madrid : MNCARS, 1997. pp. 31, 36; b/w illus.- Javier Remedios Lasso. Helga de Alvear : The foundations of a great collection - Doctoral thesis. Cáceres : Universidad de Extremadura, 2015. p. 376; ill. colour.- VV.AA.. Encuentros: 1972. Madrid : Alea, 1972.Size: 126 x 50 x 73 cm.In the summer of 1972, Equipo Crónica took part in the Encuentros de Pamplona, a multidisciplinary festival of avant-garde art which aroused a certain amount of controversy at the time and which constituted a turning point in the artistic development of Spain in the last years of the Franco regime. For the occasion, Equipo Crónica presented this multiple figure, the Espectador de Espectadores, 100 copies of which were distributed in various venues/stages of the different activities. The work was created to stimulate the participation of many spectators and became one of the highlights of the Encounters. According to Leyre Bozal in "La mirada crítica del pop", "each of these figures ironically recalled the figure of the police informers of the time. Popularly known as "socials", they were nothing more than agents dressed in civilian clothes, dedicated to identifying any opponent of the regime".Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their themes critically analysed the political situation in Spain, as well as the history of art, drawing inspiration from classic works such as Picasso's "Guernica" and Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on another, darker and more sombre image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to "chronicle reality", a kind of social realism but using contemporary visual systems. The group produced paintings, sculptures and engravings, and tended to work in series, which made it possible to analyse the same subject with different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire. Demystifying and decontextualising the works of classical Spanish masters such as Velázquez, Goya and El Greco, they made their figures (the gentleman with his hand on his chest, the Duchess of Alba, etc.) appear as images in newspapers or advertisements, inaugurating buildings or among washing machines and pressure cookers. There are works by Equipo Crónica in the IVAM in Valencia, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, the Fundación Juan March and the Museo Patio Herreriano in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organised at the Museo de Arte Abstracto in Cuenca.

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Sur les fleurs".Watercolour on paper.Signed with stamp.With label on the back of the Alcolea Gallery.Size: 20 x 16 cm; 38 x 33 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the line and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.

ANDY WARHOL (Pittsburgh, USA, 1928 - New York, USA, 1987)."Marilyn Monroe", 1967.Silkscreen on paper, copy 7/250.Numbered on the reverse. Hand signed on the reverse.Good condition.Provenance: Private collection, Madrid. Belongs to the property since the 1970s.Measurements: 91.4 x 91.4 cm, 96.5 x 96.5 cm (frame).In 1964, Andy Warhol made a series of five silkscreen prints of Marilyn Monroe, named Shot Sage Blue Marilyn. It belongs to a series of four screenprints (originally five) on 1 metre by 1 metre canvas made in Warhol's studio, The Factory, located on 47th Street in Manhattan, New York.The story behind the peculiar title states that one day Dorothy Podber, a friend of the studio's official photographer, Billy Name, was there when she saw the portraits of Marilyn stacked one against the other. Dorothy then asked Warhol if she could "shoot" them, a word that is also used in English to refer to taking a photograph. Warhol assumed the latter and agreed. To his surprise, Dorothy took a small revolver out of her handbag and shot the silkscreens, which thereafter became known as The Shot Marilyns. The fifth portrait was not in the stack to which Dorothy directed the single bullet fired.Of the five silkscreens originally created, the blue one was bought in 1967 by Peter Brant (a media and film entrepreneur) for $5,000; the red one by Philip Niarchos for $4.1 million; the orange one by Kenneth C. Griffin for an assumed price of over $200 million in 1998; and the turquoise one by Steve Cohen in 2007 for over $80 million.In 1967, Warhol again produced 10 series, with one colour attributed to each and a print run of 250 copies. One of these graphic works is the one that concerns us, the blue series being the most highly valued and quoted at international auctions.At the auction on 9 May 2022, Christie's sold the Blue Marilyn for 170 million dollars, making it the highest-priced 20th century work of art ever sold at public auction.Andy Warhol Andrew Warhola, commonly known as Andy Warhol, was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered in his time a guru of modernity, Warhol has been one of the most influential artists of the 20th century. He is now represented in the world's most important contemporary art museums, including MoMA, the Metropolitan and Guggenheim in New York, Fukoka in Japan, the Kunstmuseum in Basel, the National Museum of 21st Century Art in Rome, MUMOK in Vienna, SMAK in Ghent and the Tate Gallery in London, as well as in the museums that bear his name in Pittsburgh and Medzilaborce (Slovakia).

FRANCISCO FARRERAS RICART (Barcelona, 1927)."673A", 2005.Mixed media on panel.With Van Dyck Gallery label on the back.Signed, dated and titled on the back.Size: 31.5 x 35.5 cm; 38 x 42 cm (frame).Francisco Farreras Ricart began to develop his artistic vocation at a young age thanks, at least at first, to Antonio Gómez Cano de Murcia and Mariano Cossío, when he began to study 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, Mallorca, 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.

ÉTIENNE MOREAU-NELATON , PARIS, 1859 - PARIS, 1927 L'Omnibus Oil on canvas 62.9 x 80 cm From the top of her promontory, this elegant woman facing us adopts a perfectly symmetrical pose, with her outstretched arms resting on her horizontally placed umbrella. Seated on the bench of the upper platform of an omnibus 'à l'impériale', she occupies, static, the centre of the canvas. She is surrounded by two men, seated on the other side of the bench, offering the light touch of her jacket between their two black clothes. These gentlemen turn to converse with the lady. Relegated to the left, two other men, one in a light jacket, the other in a dark suit, also occupy the same bench. These silhouettes, with their various hats, stand out against the rosy glow of the sky in the background. The alternating shades of their clothes blend into the urban landscape, at the level of the houses on either side of the composition that form the two sides of the street. The tight framing of the scene, which reveals the influence of photography, gives a certain intimacy to this conversation, whose location on the upper platform of a bus is understood thanks to a few clues. The clear pattern of the guardrail bends to the right, suggesting the bus's staircase; a sign mentions 'Ternes', revealing its destination, while underneath, the inscriptions 'St Honoré - 33' inform us of the line it takes. However, the point of view chosen by the painter places us at the same height as the characters, as if we were on the platform of another omnibus. This painting, through its framing, photographic, its palette, restricted, and its subject, contemporary, is imbued with the avant-garde pictorial research carried out by the painters Degas or Manet, whom Moreau-Nélaton also collects.Etienne Moreau-Nélaton (1859-1927) was a French artist - painter, engraver and ceramist - but also an art historian and, finally, an immense art collector who bequeathed some one hundred paintings to the Louvre; he is thus one of the largest private donors to the French state. In the course of three donations, forty paintings by Corot were acquired by the Louvre, as well as many avant-garde works such as Le Déjeuner sur l'herbe by Edouard Manet and Les Coquelicots by Claude Monet, now in the Musée d'Orsay. Finally, he was the author of the most important monographs of his time, devoted to Delacroix, Corot, Manet and Millet. Son of the painter and ceramist Camille Moreau-Nélaton, Etienne owes his vocation as an artist to her. He began by training with the landscape artist Henri Harpignies and then with the painter and decorator Albert Maignan. This Omnibus is one of the rare works that have come down to us and offers an enlightening testimony to Moreau-Nélaton's passion for this realist painting that he loved so much that he bequeathed it to the Louvre Museum. One thinks of Manet's Balcony, where the figures stand behind the openwork railing of a balcony, or the urban subjects of Degas or Caillebotte, whose elaborate angles of view seek to capture the modernity of his time. Provenance: Sotheby's sale, New York, 24 May 1995, lot 00256. Signatur: Signed lower left

Jugendstil - - Ernst Haeckel. Kunstformen der Natur. Mit 100 teils chromolithographischen Tafeln. Leipzig u. Wien, Bibliographisches Institut, 1904. 2 Bll., 100 Bll., 51 S. (Supplement). Folio. Dunkelgrüne ill. OLwd. (berieben und bestoßen, Rücken fehlend). Erste Ausgabe. - Nissen 1783 und II, 336ff. - Mit dem eingebundenen Supplementheft (Allg. Erläuterung und systematische Übersicht ). - Das bedeutende Tafelwerk schlägt eine Brücke zwischen Naturwissenschaft und Gegenwartskunst und stellt in überaus ästhetischer Form Kleinstorganismen aus dem Pflanzen- und Tierreich dar. "Dagegen ist den meisten Menschen größtenteils aber ganz unbekannt jenes unermeßliche Gebiet der niederen Lebensformen, die versteckt in den Tiefen des Meeres wohnen oder wegen ihrer geringen Größe dem unbewaffneten Auge verschlossen bleiben .. Die vorliegenden Kunstformen der Natur verfolgen den Zweck, jene verborgenen Schätze ans Licht zu ziehen und einem größeren Kreise von Freunden der Kunst und der Natur zugänglich zu machen." (Vorwort). Haeckels Mitarbeiter Adolf Glitsch schuf die Lithographien für dieses Vorlagenwerk der modernen bildenden Kunst. Seine Untersuchung der Formenwelt der Natur hatte bleibenden Einfluss auf das mit dem Jugendstil aufblühende Kunstgewerbe. - Papierbedingt zart gebärunt. Stellenweise etwas fingerfleckig, vereinzelt fleckig. With 100 partly chromolithographic plates. Folio. Dark green ill. orig. cloth (rubbed and bumped, spine missing). - First edition. - With the bound-in supplement. - This important work of plates builds a bridge between natural science and contemporary art and depicts in an extremely aesthetic form microorganisms from the plant and animal kingdoms. Haeckel's collaborator Adolf Glitsch created the lithographs for this model work of modern visual art. His study of the world of forms in nature had a lasting influence on the arts and crafts that blossomed with Art Nouveau. - Paper moderately browned. Somewhat fingerstained in places, sporadically stained.

AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Stool.Wood.With marks of use.Measurements: 45 x 40 cm (diameter). Stool made of pine wood with a sober and robust finish. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.

AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Stool.Wood.With marks of use.Measurements: 44 x 48 x 37,5 cm.Stool made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.

AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Table.Wood.With marks of use.Measurements: 50,5 x 60 cm (diameter).Coffee table made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.

AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Chair.Wood.With marks of use.Measurements: 93,5 x 48 x 48 cm.Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.

AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Chair.Wood.With marks of use.Measurements: 93,5 x 48 x 48 cm.Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.

NO RESERVE Boffrand (Germain) Description de ce qui a été pratiqué pour fondre en bronze d'un seul jet la Figure Equestre de Louis XIV...elevée par la Ville de Paris..., engraved frontispiece, head-piece by Cochin after Boucher and 19 plates, 12 double-page or folding, a few plates numbered in ink in contemporary hand, small ink stains to frontispiece and facing French title, 1743; Livre d'Architecture contenant les Principes Generaux de cet Art, engraved head-piece by Tardieu after Boucher and 68 plates by Blondel, Herisset, Tardieu & others (numbered I-LXX but plates XXI & XLVII omitted), all but one double-page, with extension to plate XLIX bound at end (usually pasted as flap) and plate LI misnumbered XXXIII and bound after plate XXXIII, 1745, together 2 works in 1 vol., first editions, both with titles and text in Latin & French (text printed in double column), the Marquess of Bute's copy with his engraved armorial bookplate of Luton Hoo library, contemporary mottled calf, spine gilt with red morocco label, rubbed, spine ends and corners worn, joints split, [Berlin Kat. 2402 & Fowler 53, second work only; Millard French 30, 2 works bound together], folio, Paris, Guillaume Cavelier⁂ Two works by the one of most important French architects of the early eighteenth century, bound together as often. The first contains fascinating plates showing the casting of the great bronze equestrian statue of Louis XIV for the Place Vendôme in 1699, the largest bronze statue to be cast in one piece to that date. The plates depict the model, mould and wax, armature, construction of the furnace, and casting and finishing of the statue, celebrating the technological achievement as much as the work of art. The second features examples of Boffrand's work in Paris, Nancy, at Malgrange and the Würzberg Reisdenz.

Paul Nash (1889-1946), limited edition woodcut on paper, Exit Northern Muse, 1923, 8.8cm x 5.8cm, mounted. Published by Garton and Cooke, May 1985. Ed. 12/45.Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum, with blindstamp of the Paul NashTrust. Mounted. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales

THOMAS WARING: A TREATISE ON ARCHERY OR THE ART OF SHOOTING WITH THE LONG BOW.., London, The Author, 1822, fourth edition, 2 plates as called for, 1pp adverts at end, 12mo, contemporary boards re-backed, new end papers plus "A Toxophilite" (Ed): A HISTORY OF THE ROYAL TOXOPHILITE SOCIETY FROM ITS INSTITUTION TO THE PRESENT TIME, Taunton, 1870, second edition, printed for private circulation only, frontis 16mo original blind stamped green cloth gilt, vgc (2)

Archer (Thomas) Charles Dickens A Gossip about his Life Works and Characters with 18 full-page character sketches by Frederick Barnard, Cassell and Company, half-leather binding, MacColl(D.S.) Nineteenth Century Art, James Maclehose and Sons,1902, hardback, Klein(Dr. Hermann J.) Star Atlas, SPCK,1893,hardback, Scott(W.Herbert) The North and East Ridings of Yorkshire and Pike(W.T.) Contemporary Biographies, W.T.Pike and Co.,1903, leather bound with gilt tooling, The New National Encyclopaedia Atlas with an Alphabetical Index of the Latitudes and Longitudes of 30'000 places, William Mackenzie, leather bound with gilt tooling & Beautiful Cleveland and Just Beyond its Borders illustrated by photo-engravings, Hood & Co, 1897,hardback (6)

Helen MacAlister, British b.1969- Dollo’s Law, 1998; oil, name tags and seed packet on canvas, 40 x 30 cm: together with another work by the same artist, 'Brought + Sold, 2002', oil and assemblage on canvas, signed, titled and dated on the reverse 'MacAlister Brought + Sold 2002', 20.2 x 20.2 cm (2) (ARR) Provenance: with Art First Contemporary Art, London (according to the label attached to the reverse of the frame); private collection, purchased from the above on the 23rd February 1999, and thence by descent. Please refer to department for condition report

Various Artists, Contemporary- Marlborough and Fischer Fine Art Exhibition Posters; eight offset lithographic posters in colours on wove, sheets 89 x 54.3cm (unframed) (8) Provenance: The Thomas Collection.Unframed. Significant creasing and tearing to the sheets, particularly towards the edges and corners but also more generally. Dirty marks and slight abrasions to the sheets. Spots of foxing to some of the sheets. Otherwise in poor condition overall.

Porsche 911 by Brian Long. Published by Veloce, a catalogue raisonné on art paper, limited edition of 911 copies, this example numbered 093 (highlighting stain) retaining its slip case. The text includes prototypes and one-off specials all models outlined with over 1250 contemporary photographs and illustrations. Rarely offered for sale, in excellent condition save for a small bump on the case.

FOLLOWER OF SIMON VOUETSAINT CECILIAOil on canvas127 x 100cm (50 x 39¼ in.)Provenance:Private collection, Blaisdon Hall, GloucestershireAn near-contemporary version of a picture by Vouet in the Blanton Museum of Art in Texas.Cecilia, a Christian martyr who lived in third-century, sits in front of a small organ. As the patron saint of music and musicians, she has been represented with a musical instrument since the fourteenth century. It is possible that Simon Vouet used his wife, the painter Virginia da Vezzo, as the model for the saint figure.

Framed Art Helen Samuels Still Life Oil On Canvas In The 17th Century Dutch Vanitas Style Depicting A Glass And Silver Vase, Mirrors Within An Interior Mounted In A Gold Profile Wood Frame 54 x 54cm My Current Painting Practice Centres On The Representation Of Objects And Is Inspired By The History Of Still Life Painting – In Particular, 17th Century Dutch Vanitas Paintings, A Genre Which Employed Objects As A Kind Of Commentary On Contemporary Moral And Social Concerns, As Well As Exploiting Their Aesthetic Potential. I Am Interested In The Psychological And Symbolic Impact Of Objects And How We Use And Arrange Them In Ways Which Create Suggestive Narratives. My Approach To Composition Is To Photograph Objects Gathered In Pre-Existing Display Settings Such As Museums And Shop Windows, In Other Words ‘Readymade’ Still Life Groupings, From Which I Can Isolate An Image Which Will Often Incorporate Incidental Reflections And Chance Juxtapositions Of Objects. In This Way, Although The Paintings Are Fully Representational, The Incidental Surface Qualities Introduce A Degree Of Abstraction And Visual Ambiguity. It Is Important To Me That The Images Have The Feel Of Something That Is Part Of A Wider Context; That This Image Forms Part Of An Infinite Series. My Particular Take On Vanitas Is To Memorialise The Fleeting Aesthetic Of Temporary Displays In Which The Objects Depicted Are A Kind Of Vernacular Of Consumerism, Tying The Image To A Specific Time And Place. In A Visually Saturated Culture, The ‘Stillness’ Of Still Life Is The Essential Quality That I Find Most Compelling And That I Wish To Convey In My Work.

A Set Of 3 Framed Signed Wall Art By Richard Hoare (1) Still Life Shaftesbury Limited Edition 2/100 (2) Still Life Par Jan Limited Edition Of 9/100 (3) Still Life Loberoy 2011 Mounted In White Profiled Glazed Frame 48 x 44cm Richard Hoare (British B.1963) Is A Contemporary Landscape Painter. The Inspiration For His Work Goes Back To Some Of His Earliest Memories Of The Forests Around His Father’s Farm In East Anglia. This Was Magnified By His Experiences Walking The Pilgrim Routes Of England, France And Spain, Drawing And Recording The All The Way.

A monumental contemporary art glass vase / storm shade, recent manufacture, of spherical form, in clear glass with blue and green striped decoration, 34cm highPlease refer to department for condition report

Iconology. A suite of 24 allegorical plates, [London?], no publisher, circa 1822, 24 hand-coloured lithographic plates, some with initials 'Ph. P.' at foot and a few with watermark date of 1822, each with facing explanatory text leaf numbered 1-24 (with additional folio numbers 9-32 top right), a few minor spots and marks, ballpoint pen inscription to front blank & upper margin of plate 7, contemporary marbled wrappers, neatly rebacked and repaired, 4to, contained in a custom-made red quarter morocco clamshell box, gilt-titled 'Iconology' on spine, 30 x 25 cmQTY: (1)NOTE:The initials 'Ph. P.' suggest that some or all of the plates might be the work of Filippo Pistrucci (1782-1859), an artist, writer and Risorgimento patriot who spent part of his career teaching in England. His work, Iconology; or the art of representing by allegorical figures the various abstract conceptions of the mind was published in 1824, having been first published in Italian in 1819 with 240 plates. The subjects are often portrayed in opposing pairs such as 'fear and fanaticism', 'life and death', 'prudence and counsel', 'good and bad fortune', etc. These plates though similar in subject and theme are apparently not from that work and as their source has not been identified it is sold as a collection of plates not subject to return.

Playford (John). An Introduction to the Skill of Musick. In Two Books. The first: the grounds and rules of musick, according to the gam-ut, and other principles thereof. The second: instructions & lessons for the Bass-Viol: and instruments & lessons for the treble-violin... To which is added, the Art of Descant or composing musick in parts. By Dr. Tho. Campion. With annotations thereon, by Mr. Chr. Simpson, 7th edition, corrected and enlarged, London: W. Godbid for J. Playford, 1674, 2 parts in one volume, two letterpress engravings (of a Bass-Viol. & Treble-Violin), advertisement leaf at end lacking the portrait frontispiece (as often), leaf M7 in second part with tear and small loss of text, a few other small marginal tears, some light toning and stains, early annotations and previous owner signatures (including Nicholas Golboy) to front and rear endpapers (rear endpaper torn with losses), contemporary sheep, small losses at spine ends, spine rubbed, some worming to edges, 8vo, together withBoyce (William). Twelve Sonatas for Two Violins: with a Bass for the Violoncello or Harpsicord, 3 parts in 3 volumes, 1st edition, London: printed for the author and sold by I. Walsh, 1747, 3 engraved titles, dedication to George II, list of subscribers (with 'His Grace the Duke of Ancaster' added in manuscript), engraved sheets of music, occasional light dust-soiling, modern marbled boards with paper labels to spines, folio, plusDonizetti (Gaetano, 1797-1848). Cavatina, con Rec:vo nella Linda di Chamounix, del Sigr. Maestro Cavalier Donizetti, circa 1842, 22pp of ink manuscript music in a contemporary Italian copyist's hand on 20-stave laid paper, with Neapolitan watermark of D. Giovanni G. and fleur-de-lys, closed vertical tear to lower margin of first leaf, without loss, generally in good condition, stitched as issued, oblong 4to, together with approximately 115 leaves additional pages of musical manuscript in a contemporary Italian copyist's hand for the vocal and orchestral parts of the Cavatina from Linda di Chamounix, brown ink on laid paper, ten staves per page, slightly larger oblong 4to, plus 3 other 19th-century music and related manuscripts: an album of songs from Handel, Scarlatti, and others compiled by Miss Cholmondely, early 19th century half red morocco with marbled boards, red morocco gilt ownership label to upper cover, rubbed and slight wear, 4to, a similar collection of songs compiled by Charlotte Katherine Harward, signed and dated April 24th, 1813 to front pastedown, contemporary calf, somewhat worn, 4to, and one other containing text only manuscriptQTY: (8)NOTE:First item: ESTC R11472; Wing P2480. Rare. First published in 1654 as A breefe introduction to the skill of musick eighteen editions were published, the last in 1730. According to Charles Burney, author of A General History of Music (1776-89), the book "contained no late discoveries, no new doctrines either in the theory or practice of the art; yet the form, price, and style were so suited to every kind of musical readers that it seems to have been more generally purchased and read, than any elementary musical tract that ever appeared in this or any other country."Second item: Inscribed by the composer and signed with initials 'W.B.' at foot of first volume and numbered 'No. 140'. Charles Burney wrote that these Sonatas were "more generally purchased and performed and admired than any productions of the kind in this kingdome except those of Corelli. They were not only in constant use, as chamber Music, in private concerts, for which they were originally designed, but in our theatres, as act-tunes, and in public gardens as favourite pieces, during many years."

Skelton (John, 1831-1897). British reviewer, administrator and educationalist, who frequently wrote under the pen-name of 'Shirley'. A collection of 38 'Rare Tracts' collected by Skelton and bound in 13 volumes, 1851/1887, including works by John Ruskin, J.A. Froude (his close friend), Theodore Martin, Thomas Hughes, F.D. Maurice, F.J. Furnivall and others, several tracts inscribed to Skelton by the authors, mostly with original printed wrappers retained, bound in 13 volumes, contemporary calf-backed boards with spines lettered in gilt (2 volumes full morocco), heavily rubbed and some wear with several joints weak and one cover detached, non-uniform 8vo sizesQTY: (13)NOTE:Titles include George Eliot, A college breakfast-party, extracts from Macmillan's magazine [July 1878]; Thomas Hughes, Tracts for priests and people, No. 1. Religio Laici, 1861; Frederic Denison Maurice, Tracts for priests and people. No. 2. The mote and the beam, 1861; Thomas Carlyle, Shooting Niagara: And after?, 1867; Robert Browning, On the poet objective and subjective; of the latter's aim on Shelley as man and poet, 1881; Alfred Tennyson, The defence of Lucknow, [extract, 1859]; John Ruskin, Notes on some of the principal lectures of Sir John Everett Millais exhibited at the Grosvenor Gallery, 1886; John Ruskin, Notes on the pictures of Mr Holman Hunt. exhibited at the rooms of the Fine Art Society, 1886; Henry James, Notes (no. 15 of series) ... on a collection of drawings by Mr George Du Maurier, 1884; Joseph Pennell & Elizabeth Robbins, A Canterbury pilgrimage, 1885. A detailed list is available on request.

Richardson (Charles James). Architectural Remains of the Reigns of Elizabeth and James I, volume 1 only, published by the author, 1840, additional tinted lithographic title and 30 leaves of tinted and uncoloured lithographic plates, some old damp-staining, contemporary quarter morocco gilt, rubbed and partly faded, folio, together with: Remington (Frederic), Drawings, New York & London, 1897, black and white plates, original pictorial cloth, slightly rubbed and soiled, oblong folio, plusSelous (Henry C., illustrator), The Pilgrim's Progress... , by John Bunyan, edited by George Godwin and Lewis Pocock... , London: M.M. Holloway, 1844, engraved plates and illustrations, modern blue half morocco gilt, oblong folio, cloth solander case, plusDallas (Donald), James Purdey & Sons, Gun and Rifle Makers, 200 Years of Excellence, 1st edition, 2013, colour illustrations throughout, original cloth in dust jacket, 4to, plus other miscellaneous art reference, large format, etc.QTY: (2 cartons)

Amirsadeghi (Hossein, Editor). Contemporary Art Brazil, 1st edition, London: TransGlobe Publishing, 2012, numerous colour illustrations, original cloth in dust jacket, 4to, together with:D'Almeida (Neville), Cosmococa Programa in Progress, 1st edition, Argentina: Hélio Oiticica, 2005, numerous colour illustrations, original cloth in dust jacket, 4to, plusThames & Hudson, Publisher, Vision 50 Years of British Creativity, 1st edition, London: Thames & Hudson, 1999, 270 illustrations, ex-library with associated marks, some minor marginal toning, original cloth in dust jacket, large 4to, and other modern art reference and related including publications by Tate and Taschen, mostly original wrappers some original cloth in dust jackets, G/VG, 8vo/4toQTY: (6 shelves )

Harris and Son (publishers). Portraits and Characters of the Kings of England, from William the Conqueror to George the Third, Parts I & II, London: John Harris, 1825, 16 and 17 hand-coloured engravings respectively, plus hand-coloured vignette titles, publisher's advertisements on rear pastedowns, first part with small nick in top edge of page block, second part with adhesive tape repairs to hinges, each part in original printed buff wrappers, rubbed and marked, mostly to Part I (latter re-spined and with ownership name at head of front cover), together withThe Infant's Grammar or a Pic-nic Party of the Parts of Speech, London: John Harris, circa 1830, 11 hand-coloured engravings, some spotting, 1 page publisher's advertisements at rear, contemporary ink inscription to front pastedown, original printed buff wrappers, slightly creased, spine rubbed, plusThe Peacock "At Home." By a Lady. And Butterfly's Ball; An Original Poem, by Mr. Roscoe, London: John Harris, 1834, 8 hand-coloured engravings on 4 leaves, publisher's advertisement leaf at rear, early book ticket of Georgiana M. T. Dallas on front pastedown, original printed wrappers, dusty and marked, and 4 other chapbooks including: Industry and Idleness, by Mary Belson, 1820; The Flower-Basket, circa 1828; The Rudiments of Grammar, in Verse, by Madame Leinstein, circa 1820; Wonders! Descriptive of Some of the Most Remarkable of Nature and Art, 1821, all worn, slim 8voQTY: (8)NOTE:Moon, John Harris, 675 (2); 396 (4); 992 (1).

Sendak (Maurice). In The Night Kitchen, London: The Bodley Head, 1st UK edition, 1971, colour illustrations, original pictorial boards, edges rubbed and top outer corner of front cover bumped, dust jacket, extremities rubbed and slightly frayed, contemporary inscription in green felt tip to fore-edge of front flap, 4to, together withOutside Over There, London: The Bodley Head, 1st UK edition, 1981, colour illustrations, original red boards, dust jacket price-clipped, some creasing and chipping to edges, 4to, plus 9 other books illustrated by Sendak, including: Hector Protector, Sarah's Room, The Moon Jumpers, Nutcracker, Bears, and The Love for Three Oranges, and a copy of The Art of Maurice SendakQTY: (12)

* Miller (Stewart McAlpine, 1964-). Mickey Who, giclee on canvas, depicting a woman surrounded by Disney characters in an abstract composition, 'Mickey Mouse Who' 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.

‡Dame Elisabeth Frink CH, DBE, RA (1930-1993) Lying Down Horse (Wiseman 57) Signed and numbered 243/250 Frink (in pencil to margins), and with Christie's Contemporary Art blindstamp Lithograph, 1972 57.2 x 77.3cm (sheet)

‡Tricia Gillman (b.1951) Olive Branch Signed, inscribed and dated Olive Branch Tricia Gillman 1985 (to the overlap) Oil on canvas 30.6 x 40.4cm Provenance: Benjamin Rhodes Gallery, London; Contemporary Art Society Market, where purchased by the present private collector, 1985

LAUREANO BARRAU BUÑOL (Barcelona, 1864 - Santa Eulària des Riu, Ibiza, 1957)."Noia Eivissenca (Eivissa Noia). Circa 1935Watercolour and graphite on paper.Signed and dedicated in the lower left-hand corner.Work referenced in "Laureà Barrau" by Isabel Coll p. 203.Work exhibited in the anthological exhibition "Laureà Barrau (1863-1957), l'artista i el seu llegat a Terrassa", 2004, Centre Cultural de Caixa Terrassa. Measurements: 46 x 36 cm; 67 x 57 cm (frame).Laureano Barrau was born into a bourgeois family, son of an industrial engineer and businessman. He began his training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba. Shortly afterwards he travelled to Madrid to broaden his training by studying the great masters of the Prado Museum. In 1884 the Barcelona City Council granted him the Fortuny Pension to extend his studies in Rome for three years. However, with the money from the travel grant Barrau moved to Paris, where he entered the Academy of Fine Arts, with Jean-Léon Gérôme as his tutor. In 1885, already in Rome, he studied the Italian masters and began to send to Barcelona the works that corresponded to him as a boarder. From 1887 he exhibited regularly at the Sala Parés in Barcelona, one of the most important Spanish galleries of the time, and the most prominent in Catalonia. That year his painting "The Surrender of Gerona" was a great success with critics and the public, as it represented a totally personal treatment of the genre of history painting, more vibrant and emotive. At the same time, Barrau frequently took part in official exhibitions both nationally and internationally. In 1888 he was awarded a second medal at the International Exhibition in Barcelona and a second prize at the Universal Exhibition in Brussels. Three years later, in 1891, he was awarded the title of member of the Salon de la Société Nationale des Beaux-Arts in Paris, and the following year he was awarded a third medal at the National Exhibition of Fine Arts in Madrid for his work "Escardadora". In 1904 he won a second medal at the same exhibition for "Taponeras del Ampurdán". Barrau also held numerous individual exhibitions and took part in group exhibitions in Paris, Barcelona, Madrid, New York and Rome. In 1909 he settled in Buenos Aires, where his work enjoyed the same success and recognition as it had in Spain and Europe, and after returning he settled permanently in Ibiza in 1911. From there he continued to show his work both in Spain and abroad, and in 1929 he was appointed "Societarie" of the Paris Salons. Barrau's work is based on an initial language linked to his neoclassical training, and evolves to reach a new concept characterised by luminosity and chromatic transparencies. To this day, the work he produced in Santa Eulària des Riu (Ibiza) at the end of his life is considered to be the best of his output. Laureano Barrau is currently represented in the Prado Museum, the Getty Museum in California, the Museums of Contemporary Art in Madrid and Barcelona, his house-museum in Santa Eulària des Riu and in various museums in Paris, Buenos Aires, Montevideo and Rio de Janeiro, as well as in important national and international private collections.

RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894)."Female nude".Oil on canvas. Relined.Signed in the lower left corner.Period frame, with some faults in the stucco and polychromy.Measurements: 175 x 80 cm; 213 x 118 cm (frame).Seated on cushions upholstered in silk and trimmings, a woman of cimbreantes hips and turgid flesh tones acquires a sculptural presence, being outlined in front of a dark bottom. She adopts a modest gesture that accentuates her attractiveness. She tilts her head to one side and her black eyes give off a melancholic glow. The nude seems to be based on baroque models, but Martí Alsina counterbalances the carnal charge with an intimate, modern touch. The silky qualities of the hair, the luminous modelling of the forms, the soft cushions, etc. bear the mark of a master.Considered today as the most important figure of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His themes include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.

Ai Weiwei (born 1957)The Papercut Portfolio The complete portfolio of eight papercuts, 2019, on wove paper, with title page, colophon and text, stamp-numbered 161 on the colophon, from the edition of 250, each print signed in pencil, published by Taschen, London, the sheets loose (as issued), each papercut contained in an envelope, all contained within the original red clothbound clamshell portfolioEach 600 x 600mm. (23 5/8 x 23 5/8in.); Portfolio 650 x 645 x 80mm. (25 5/8 x 25 3/8 x 3 1/8 in.)Footnotes:Papercutting is an ancient Chinese art and the intricately cut papers are used for festivals, religious ceremonies and everyday decoration. In his Papercut portfolio, Ai Weiwei incorporates many aspects of his life and work, referencing links between contemporary and traditional culture with images of Neolithic vases branded with the Coca-Cola logo, his stay in New York from 1982 to 1993 with a view of the Manhattan skyline, his return to Beijing with sculptures made from antique items such as chairs and chandeliers and his challenges to authority with an obscene gesture directed towards the walls of the Forbidden City.The vibrant red is associated with good fortune in Chinese culture and can also be seen as an allusion to politics, one of many dichotomies present in the artist's work.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SPENCE, Joseph. A Parallel; in the Manner of Plutarch: Between a most celebrated Man of Florence and One, scarce ever heard of, in England. London: at Strawberry-Hill by William Robinson, 1758. Limited edition, one of 700 copies. Engraved portrait vignette of Antonio Magliabechi to title-page, 1p. advertisement verso last leaf. (Browning, some offsetting, spotting to endpapers.) [Bound with:] John ARMSTRONG. 'The Art of Preserving Health: a Poem'. London: A. Millar, 1754. Fourth edition. Half-title, engraved vignette to title-page. (Toning, occasional spotting.) 8vo signed in 4s (173 x 108mm.) Near contemporary half calf, red morocco lettering piece to the spine (rubbing to extremities). Provenance: Thomas Borrett (armorial bookplate to the front pastedown); J. Ballad (ink name inscribed on front-free endpaper); Charles H.L Woods (ink name inscribed on front-free endpaper).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

BINDING. - Dante ALIGHIERI. The Vision of Dante… translated by the Rev. H.F. Cary. London and New York: J.M. Dent, 1909. 8vo (181 x 109mm.) Extra-illustrated with 10 mounted plates relating to Dante and Italian art. (Toning, occasional browning.) Contemporary vellum with a hand-painted roundel portrait of Dante based on Sandro Botticelli's painting, surrounded by hand-painted floral design in art nouveau style, with ties (endpapers replaced).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A set of 3 Art Nouveau brass fireirons; a pair of contemporary andirons

Two Gouda art pottery inkwells and covers and a contemporary Swiss art nouveau earthenware vase of sack shape, first half 20th c, vase 11.5cm h, painted marks Knop of cover of inkwell broken off and re-stuck

Advertising, Breweriana - Shipstone's Strong Ale, New Basford, Nottingham, a printer's proof folio, dated from 1949-1962, illustrated with tipped-in pictorial and graphic art samples, mostly monochrome, contemporary two-tone cloth, crown folio (37.5cm x 24.5cm), [1]

A selection of hardback books, primarily relating to art and craftsmanship, titles including: The Drawings of Leonardo Da Vinci, by A. E. Popham; Guide to Art Illustration, by J. S. Hodgson; Anatomy for the Artist, by Jeno Barcasy; The Contemporary and Lithographic Workshop Around the World, by Knigin and Zimiles; and others, one box.

Bobbie Coleman: Large Glass Wave, contemporary art glass sculpture, signed and dated 2013 verso, raised over a rectangular base with makers label to underside, 36.5cms wide; together with another art glass sculpture by Coleman; art glass dish signed Bowen; and a glass vase signed indistinctly. (4)

LA GUERINIÈRE, François Robichon de.- Ecole de cavalerie, contenant la connoissance, l'instruction, et la conservation du cheval.- A Paris: Jacques Collombat, 1733.- [8], 276, [8] p.: 1 portada gravada, [24] gravuras; 44 cm.- E., First folio edition of a classic work in the field of equestrian art, considered one of the most beautiful French editions of the 18th century (the first two, small format, were published between 1729 and 1731, this being the third). François Robichon de la Guérinière (1688-1751), recognized as the founder of the French riding school, began his activity as a squire to the Count d'Armagnac who, in 1715, commissioned him to found an equestrian academy in Paris. From 1730 until his death, with his brother Pierre as a partner, he directed the Académie des Tuilleries, having as patron Prince Charles de Lorraine, chief-squire of King Louis XV. The edition is illustrated with an engraved title, representing the education of Achilles (with the bust of Louis XV in a medallion) and 24 intaglio engravings, three of which are double, 12 full-page (separately) and eight in the text (full page, with text on verso). It also includes three large allusive vignettes (140x235 mm), one at the beginning of each of the three parts of the work, opened in copper plate by the best engravers of the time (Cars, Aveline, Cocart, Audran, Lebas, Beauvais et Desplaces), according to originals by Charles Parrocel and Antoine Coquart. Copy slightly handled, with some imperfections, namely: lower outer corner of the first four leaves with signs of handling and fungus; first double engraving with slight (tidal) stains; occasional smaller stains. It is however complete and solid and generally clean, with all the prints well placed. Ex-libris of D. Diogo de Bragança, VIII Marquis of Marialva. Contemporary binding, full sheepskin, a little worn with the heraldic book stamps of the House of Lafões, gold engraved at the centre of the covers (probably gauffered later). Keep the original endpapers on marbled paper. Cohen, 588. Graesse, IV, p. 79. Brunet, III, 769. Mennessier de La Lance (Bibliographie hippique), II, p. 27.