JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005)."Espai Vert", 1972.Oil on canvas.Signed in the lower right corner. Signed, dated and titled on the back.Size: 24 x 33 cm; 36 x 27 cm (frame).This work belongs to the period in which Hernández Pijuán investigated in the chromatic scales and in the studies around the light and the movement. It shows the Catalan artist's predilection for light brushstrokes, as well as the tonal gradation that characterised much of his artistic production.Joan Hernández Pijuan began his training in Barcelona, attending the La Lonja and Sant Jordi Schools of Fine Arts, before completing his education at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among Spanish artists of recent decades. The strength of his creative individuality places him on the fringes of the successive dominant trends and fashions, but does not prevent us from recognising in his work a profound identification with the aesthetic concerns of his time. Throughout his career he has produced paintings on canvas, works on paper and aquatint engravings, lithographs and other printmaking techniques. Hernández Pijuan began his career practising a tragic expressionism with a strong social charge, and at this time he formed, together with the other members of the Sílex Group, the so-called Barcelona School. In the 1970s he simplified his expression to the point of adopting a geometric and calculated figuration, a style he left behind in the following decade to focus on Informalism. His exhibition activity was as wide-ranging and diverse as his own artistic creation. Whether individually or in the company of other artists, Hernández Pijuan made a major impact in artistic circles around the world. Indeed, interest in and fascination with the painter's career continues as ever, with new exhibitions and public displays of his work. During his lifetime he had solo exhibitions in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 he was the subject of a major retrospective exhibition at the MACBA in Barcelona, which was subsequently shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museo de Arte Abstracto Español in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed member of the Real Academia de San Fernando in Madrid. In 1981 he received the Premio Nacional de Artes Plásticas, in 1985 the Cruz de Sant Jordi and, in 2004, the City of Barcelona Prize. He was also awarded the Prize of the General Directorate of Fine Arts at the National Exhibition in Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Ljubljana Print Biennial (1965), the International Print Biennial in Krakow (1966) and the "Vijesnik u Srijedu" editorial prize in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museo de Arte Abstracto Español in Cuenca, the Reina Sofía in Madrid, the Museo Patio Herreriano in Valladolid and the Museo Vasco de Arte Contemporáneo, as well as in foreign centres such as the Guggenheim Museum in New York, the Liaunig (Austria), those of Contemporary Art in Helsinki and Luxembourg, the Kulturstiftung in Bad Homburg (Austria), the Yamaguchi Gallery in Osaka (Japan), the Palace of Fine Arts in Brussels, the National Gallery in Montreal, the Museum of Modern Art in Buenos Aires and the Sztuki Museum in Lodz (Poland).
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NINA MURASHKINA (Ukraine, 1985)."Triumph of Justice".2019.Acrylic paint and gold leaf on canvas.Signed.Size: 200 x 120 cm.Studied painting at Kharkiv Art Design Academy, and at the Art Academy of Jan Mateyko. Poland, Krakow (2012). Member of the National State Artists Union. Member of the Independent Artists Union (2009). LATEST EXHIBITIONS: 2017 The Art of Menschlichkeit "Nicolas Treadwell's Gallery", Vienna. 2017 "The Siren" with sculptor Xavier Escala. Penz, Russia.2016 "Black Chocolate in Gold" Glo'art Belgium. 2016 ZINE festival, Vienna.2016 solo exhibition, I am not afraid! Museum of Dreams in Kiev, Ukraine.2016 Earthly Delights Nicolas Treadwell's Gallery, Vienna.2016 Personal Exhibition The Full Moon! "Spasskaya 45" gallery, Nikolaev, Ukraine.2016 Dialoges, Lavra gallery, Kiev 2016 "KunstlersommerOttensheim 2016 "Honzik" Gallery /Aigen, Austria.2016 "KunstlersommerOttensheim 2016. RaiffeisenAvalbank /Ottensheim, Austria 2016" / Ottensheim, Austria.2016 The Heritage Modern Art Research Institute of the National Academy of Arts of Ukraine.2016 I want Love! "A3 - Gallery" Moscow.2016 "SERENDIPITY" solo exhibition "KZ" gallery, Kiev.2016 "Involved to Beauty" Mansion Uvarova Countess. Kiev.2016 Women's Art Project Exhibition in the Goverment's Hall. Kiev .2016 "Baby, please forgive me!" solo exhibition. "The Chocolate House" Kiev national museum of the Russian art. Ukraine.2016 "Women's Art Project" "The Chocolate House" Kiev national museum of the Russian art.2016 Short stories. Contemporary Artists from Ukraine, Imago Mundi project/ The catalogue presentation. "Mystetsky Arsenal Gallery" in Kiev.2016 "Ergo Sum" "Dukat Gallery"/ Kiev, Ukraine.2015 "INSPIRED BARBARA" /art - club "Atlas", Kiev, 2015 "Green Life" Modern Art Research Institute of the National Academy of Arts of Ukraine./ Kiev 2015 Shanghai International Contemporary Art Exchange Exhibition/ Cnina, Shanghai, "Chun Gallery "2015 "TOY STORY" curator project/ ArtZbirka Gallery, Kiev, Ukraine. 2015 "INSATIABLE", Contemporary Art Kiev 10./"Mystetsky Arsenal Gallery" in Kiev. 2015 "Woman Secret" curator project in the Contemporary Art Kiev project. STATEMENT: My art talks about love, pain, violence and despair, emotions that have to be intense to emerge into the conscious world. I draw on traditional art, archetypes, myths and the subconscious. All these are an inseparable part of my creativity. My favourite authors are Annette Messager, Louise Bourgeois, Francis Bacon, Antoine Watteau, Antoine Watteau.
ALFONS BORRELL (Barcelona, 1931).Untitled.Oil on paper.Signed in the lower right corner.Size: 54 x 72.5 cm; 74 x 93 cm (frame).One of the greatest exponents of lyrical abstraction in Spain, Alfons Borrell began his pictorial training in 1950 in the studio of Anglada Camarasa. Three years later he entered the Sant Jordi School of Fine Arts in Barcelona. In 1960 he became a member of the Gallot group and carried out "actions" in the streets of Barcelona. This is a brief but intense period of collective activities with other members of the group. He exhibits gestural paintings, within the "action painting" movement, and is invited by Cirici to exhibit at the inauguration of the Barcelona Museum of Contemporary Art. In 1976 he exhibited at the Joan Miró Foundation in Barcelona, and two years later he took part in a group exhibition of Catalan artists at the Centre Georges Pompidou in Paris. During the eighties and nineties he showed his work in galleries in Barcelona, Madrid, Paris, New York and Tokyo, among other cities around the world. Until 1996, Borrell combined his pictorial activity with teaching, and in recent years he has devoted himself fully to his work. He is currently represented at the Barcelona Museum of Contemporary Art.
"ANZO"; JOSÉ IRANZO ALMONACID (Utiel, Valencia, 1931 - 2006)."Isolation Nº5", 1967.Acrylic on táblex.Signed, dated and titled on the back.Size: 100 x 81 cm; 110 x 90 cm (frame).Artistically known as "Anzo", he is one of the most visionary Valencian artists on the Spanish scene. Anzo's work is part of what his contemporary, the art critic Aguilera Cerní, calls Crónica de la Realidad (Chronicle of Reality). Anzo placed the theme of isolation at the conceptual centre of his work. The present work is a reference in the beginnings of this series, in which we can see a solitary character in a threatening space that dehumanises the individual.Anzo entered the San Carlos School of Arts and Crafts in Valencia in 1945, and in 1949 he moved to Barcelona, where he studied architecture. He had solo and group exhibitions since 1961 and his work became famous in Spain as well as in the rest of Europe and the United States. Along with Joan Genovés, he was one of the main renovators of Valencian art, and his work was described as social art. He cultivated various derivations of pop art, and for a time he worked on the incorporation of images from advertising, television and cinema. Later he focused on the interpretation of simplified advertising images based on constructive elements, purist in character and with a certain disalienating intention. In 1997 his hometown, Utiel, dedicated a tribute exhibition to him, and in 2003 he received the Plastic Arts Award from the Generalitat Valenciana. In 2009 the University of Valencia paid tribute to him by exhibiting his works.
SOLEDAD FERNÁNDEZ (Madrid, 1949).Untitled, 2001.Oil on canvas.Artwork reproduced in "Soledad Fernandez", Sammer Editions, 2007.The piece encloses the book with the reproduced work.Signed in the lower right corner. Signed and dated on the back.Measurements: 89 x 116 cm; 112 x 139 cm (frame).This painter from Madrid is considered by the critics as one of the best realist painters of the moment, one of her favourite themes being the human body, especially the female nude, always wrapped in paper or cloth, which gives the work a certain magic and mystery. Art critics such as Santiago Amón, Francisco Prados de la Plaza, Francoise Tempra, José Pérez Guerra, José Pérez Guerra, Carlos García Osuna, Santos Torroella, Javier Rubio, Mario Antolín, M. L. Camboy, Tomás Paredes, Antonio Morales, Julia Sáenz-Angulo, Rafael Perelló-Paradelo, Agustín Romo, J. Marcaro Pasarius, Héctor López, Ángel Azpeitia, Antonio Lisboa and David Amor, among others.in 1949 he moved to Collado Villalba (Madrid), where he currently lives. In 1960, and for seven years, she studied in the studio of the Sevillian School painter José Gutiérrez Valle. She is, therefore, a "workshop" painter. Later she continued drawing at the Circulo de Bellas Artes in Madrid and attended several contemporary art competitions. In the 80's she visits and studies art in Paris, London, Rome and Venice, each day going deeper into the techniques she had already learnt in Madrid. After several exhibitions of lesser importance, in 1987 he exhibited in London at the Sammer Gallery and later in Madrid, El Escorial, Barcelona, Palma de Mallorca, Zaragoza, etc. He also attended national and international fairs such as Washington (USA), Chicago (USA), Santander (Spain), Valencia (Spain), Miami (USA), etc. In 1987 he was awarded the first prize for foreign painting (ex aequo) at the XXIX International Competition "Grolla d'Oro de Treviso", Venice, and in 1989 he won the first prize at the VI Durán Painting Prize Competition. His works can be seen in the following museums: Musée Quentovic (Le Touquet, France), National Museum of Fine Arts (Valletta, Malta), Cathedral Museum (Medina, Malta), Museo Bayo (Puerto de Santa María, Cádiz - Spain), Museo de la Real Academia de Bellas Artes de San Fernando (Madrid, Spain) and Museo de Dibujo "Castillo de Larrés" (Huesca, Spain).
SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Dancer. 1973.Ink drawing on inside page of the signature book of the hall of La Paloma, Barcelona.Authenticity certified by the Dalí Foundation in Figueres.Signed and dated at the bottom.Measurements: 28 x 20 cm.Original drawing by Salvador Dalí, dated 1973, of the legendary La Paloma nightclub, located in the Raval district of Barcelona. Dalí spent long hours sitting in one of the boxes, taking notes of the dancers. This unique testimony remains, one of his drawings sketched directly in one of the hall's signature books, together with period photographs of the Modernista-inspired interior.Salvador Dalí is undoubtedly one of the most important artistic personalities of the 20th century. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache that imitated Velázquez's and would become his personal hallmark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which showed scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.
PACO PEREGRÍN; (Almería, 1976)."Efimera,II".Caja de luz, 2018.Digital photography. Round LED light box 100 cm in diameter. Fine art print on Samba canvas with water-repellent and fireproof latex inks mounted with black phenolic wood profile Banova. Material and inks 100% ecological.Current edition of 10 copies plus an artist's proof. Copy 1/10.Enclosed certificate issued by the artist.Signed and numbered by the artist.Measurements: 100 cm (diameter).Exhibitions: Artificio position, retrospective of Paco Peregrín curated by Rafael Doctor Roncero at the Centro Andaluz de la Fotografía. Almería, 2018. Catalogue.Photo that belongs to a polyptych made up of 10 photographic works of different sizes, like a cosmology, where different periods and dimensions of the life cycle are symbolically captured. The series "Ephemeral" deals with the unknown and imperfect beauty. Focusing on the various interconnected artistic views of an androgynous female model, these images evoke the four ages of human beings (through aspects such as birth, breastfeeding, adolescent rebellion, maturity, ageing and death). Concepts such as existence, destruction, life and death are treated symbolically in this project, thus proposing a reflection on loneliness and the transience of life. This international and innovative project, which combines 3D computer graphics with digital photography, delves into the unknown origin and end of the human being and the fragile imperfect beauty as a metaphor for the ephemeral nature of beauty and life.The series focuses on a face that acts as a changing and versatile entity (plays of colour and light, marked features with unconventional make-up, movement and constant evolution). The face, the protagonist, stands out against a neutral background and alludes to a particular concept of beauty (sometimes unusual, alien and even monstrous), to its ephemeral nature and to the passage of time. Make-up, a symbol of consumerism, also functions as a mask, moving away from conventionalisms and the traditional representation of the portrait, reflecting on the idea of identity and constituting a proposal of make-up as a contemporary mask that camouflages and protects us and also helps us to construct a superego. With a dramatic and creative aesthetic, Efímera is a reflection on the passing of time, but also a powerful ode to diversity and freedom.Paco Peregrín is a visual artist and photographer from Andalusia, currently considered one of the world's leading talents in artistic, editorial and advertising photography, always highlighting his experimental side in all his work, characterised by its strength and forcefulness. He studied Fine Arts in Seville, adopting then a mystical sensibility of compositional schemes and chromatisms inspired by baroque art. He later trained at leading centres such as the International Center of Photography (New York) and the Central Saint Martins College of Art and Design (London). It is possible that it has been his theatrical experience that has allowed him the ability to direct the models in front of his camera, the development of his spatial perception and to show the body, presence and time in his work. He currently lives in Madrid, a detail that, together with his time in important cultural capitals, has added contemporaneity and freshness to his unique work. It is also important to highlight his wide experience in design, communication, theatre and painting. He alternates fashion photography for magazines such as Vogue, Harper's Bazaar or L'Officiel with commercial work for brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Adidas, Nike, Gant, Toyota, Lancôme, Shiseido... with signature photography, having exhibited his work in galleries in New York, Paris, Barcelona, Beijing, Madrid, Berlin, Seville, San Sebastian, etc. and
ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Untitled.Mixed media on paper.Signed in the lower left corner.Size: 76 x 57 cm; 101 x 71 cm (frame).In this mixed media painting on paper, Clavé superimposes realities that seem to emerge from an organic background, like spectral faces interspersed with dense brushstrokes and areas that appear to have been resolved by frottage. Thus, organic insinuations are laminated with geometrical configurations. Clavé experiments with a variety of techniques and languages, so that on the same surface, touches of spatula, gesture, expressionism and abstraction dialogue with each other. The result is an arduous dialogue with the Baroque tradition and its play of chiaroscuro. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for Charles Vidor's film "Hans Christian Andersen", and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
JULIAN SCHNABEL (Brooklyn, New York, 1951)."Olympic".Photograph with intervention.Signed and dated.Julian Schnabel originally made this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 83 x 66 cm; 108 x 90 cm (frame).One of the parts of the project sponsored by Telefónica for the promotion of the Olympics was the creation of 58 advertising posters. This project, the most ambitious in the history of the Games, was grouped into four areas or collections: official Olympic posters, photographic sports posters, designers' posters and painters' posters. In the latter, in collaboration with Daniel Giralt Miracle, 10 artists were proposed to publicise the Barcelona brand, including this work by Schnabel. However, the high degree of eroticism emanating from the composition led COOB'92 to censor it.With a practice close to expressionism, Schnabel's technique encourages objet trouvé and processes based on chance, on numerous occasions approaching sculpture and exploring new fields such as architecture and furniture. An award-winning film director (three of his films, "Basquiat", "Before Night Falls" and "The Diving Bell and the Butterfly" have won him awards at Cannes as best director, and he has been decorated or nominated at the Golden Globes, the BAFTAs, the César and the Venice International Film Festival), Julian Schnabel made his artistic breakthrough with his "plate paintings", fragments of plates, assembled and polychromed, which he created after contemplating Gaudí's mosaics in Barcelona's Park Güell. His boldness, his energetic conception of art and the novelty of his techniques and decorations made him a transgressive figure in the art world, not exempt from controversy and eccentricity. His work currently forms part of the collections of several museums around the world, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Museum of Contemporary Art (MOCA), Los Angeles, the Museo Nacional Centro de Arte Reina Sofia in Madrid and the Centre Georges Pompidou in Paris, among many others, as well as important private collections.
SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Two Sailors", ca.1925.Pencil, graphite and blue pencil on paper.Attached certificate issued by Archives Descharnes (20/06/2022).Attached notary's note from Salvador Dalí Cusí, the artist's father.Signed in ink in the lower right-hand corner.Measurements: 22.1 x 15.9 cm.Drawing from Salvador Dalí's youth, probably done during his student period in the mid-1920s. The theme of sailors interested the avant-garde artists, as allegories of wandering souls, of bohemia, wandering from port to port, bearers of fleeting loves. Salvador Dalí is undoubtedly one of the most important artistic personalities of the 20th century. In his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache that imitated Velázquez's and would become his personal hallmark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which showed scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.
HERNANDO VIÑES SOTO (Paris, 1904 - 1993)."The artist in her studio".Oil on canvas.Signed in the lower right corner.Size: 73 x 92 cm; 93 x 112 cm (frame).In this work the author rescues a very recurrent theme in the history of art, which deals with the relationship between the model and the artist. In this case we are presented with a model who is also an artist, as she stands on the barely sketched canvas with the painter's palette in her hands. Aesthetically, the work is heir to Cubism, but the artist configures the different planes on the basis of fields of colour which give volume and shape the space.Born into an upper-class bourgeois family, Hernando Viñes Soto was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a disciple of Maurice Denis and Georges Desvallieres, and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). At the beginning of the 1980s, important retrospective exhibitions were held at the Casa de España in Paris, the Fine Arts Museum in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.
DEFOE, Daniel - A System of Magick; or a History of The Black Art, being an historical account of Mankind's most early dealing with the Devil, London, by J. Roberts, 1727, 8vo, t.p. in red and black. Engraved frontispiece. Signature on ff ep of "Tycho WIng 1727". Fine Copy in contemporary panelled calf. Very slight rubbing, light browning to t.p. Tycho Wing (1696-1750) was an astrologer. See D.N.B.
Flemish school, Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640); 17th century."Adoration of the Shepherds".Oil on copper.It has faults and repainting.It has a Spanish or Italian frame with xylophagous remains.Measurements: 35 x 26 cm; 44 x 35 cm (frame).The present work is a follower of the painting that Rubens made for the church of San Filippo in Fermo, in 1608, which is currently in the Fermo Civic Art Gallery. There are certain differences in both the figures and the poses. However, the gesture so characteristic of Rubens' works, in which the Child is shown to his adorers, has been preserved. In this case, the monumentality typical of Rubens' figures is preserved, especially in the female figure kneeling before the Child. In addition, the finesse of the faces and the delicacy of the forms are outstanding.Both the dynamic composition of the scene and the anatomical conception of the figures are very reminiscent of works by the artist Peter Paul Rubens. Peter Paul Rubens was a painter of the Flemish school who, nevertheless, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, given that his influence was also key in other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important figure in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who brought him into contact, while still very young, with the best painters of the day. Rubens had three teachers, the first of whom was Tobias Verhaecht, a painter with a precise and meticulous technique who had travelled to Italy and who taught the young artist the first artistic rudiments. It is also possible that Rubens travelled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter who was also influenced by the Italianate style but whose language was still Mannerist and who must also have influenced the young artist to visit Italy. Finally, his third teacher was Otto van Veen, the most notable and last of them. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he remained between 1600 and 1608.
A mid 19th century English 'Parian' type biscuit glazed porcelain figural group of 'Ariadne & the Panther'after the original model by Johann Heinrich von Dannecker (German, 1758-1841), and the Minton version modelled by John Bell (British, 1811-1898) the semi-clad classical maiden reclining on the back of the draped panther, on a rectangular base, 38cm highFootnotes:The Parian models of 'Ariadne and the Panther' and 'Una and the Lion' by Minton & Co. were produced for Summerly's Art Manufactures from 1847 to the 1860s. The composition of 'Ariadne and Panther' modelled by Bell was copied from the original subject by the German sculptor Johann Heinrich von Dannecke and contemporary advertisements indicate that the Ariadne group was on sale before the Una and the Lion model so it probably provided the inspiration for the production of the pair.For further information on this lot please visit Bonhams.com
Ireland (Samuel). Picturesque Views on the River Thames, from its Source in Gloucestershire to the Nore: with observations on the public buildings and other works of art, 2 volumes, London: T. & G. Egerton, 1792, half titles, additional aquatint titles, 2 maps, 52 sepia aquatint plates, occasional offsetting and light spotting, bookplates of Alfred George Renshaw, all edges gilt, contemporary green straight-grained morocco, spines faded top brown, a little rubbed and scuffed, 8vo QTY: (2)NOTE:Abbey Scenery 430.
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[Hancarville, Pierre Francois Hugues d']. Monumens de la Vie Privée des Douze Césars, d'après une suite de pierres gravées sous leur règne, A Caprées, Chez Sabellus [Nancy, Leclerc], 1st edition, 1780, & Monumens du Culte Secret des Dames Romaines, pour servir de suite aux Monumens de la Vie Privée des XII Césars, 1st edition, A Caprée: Chez Sabellus [Nancy, Leclerc], 1784, engraved frontispiece to each volume, title vignette to second work, and 100 (50 in each volume) erotic engraved plates in the form of cameos or medals, occasional light spotting, marbled endpapers, all edges gilt, contemporary uniform brown and dark green mottled calf gilt, rubbed and some marks, second volume with minor split at head of spine, 4toQTY: (2)NOTE:Pia 883; Cohen-De Ricci 474-475. Attractive copy.First edition of both volumes of Pierre-Francois d'Hancarville's famous study of Roman debauchery and erotic history, here in a contemporary uniform binding. The engravings were supposedly after genuine antique gems but, as Cohen states, they are largely the inventions of the author. Pascal Pia notes "à vrai dire, qu'il ait ou non eu pour modèles d'authentiques pièces de collection, il n'a rien imaginé que les Anciens n'eussent connu". An historian and art dealer, Hancarville (1719-1805) acted on behalf of the collector Sir William Hamilton (ambassador at Naples from 1764 to 1800), in his search for antique works of art, introducing him to the Porcinari family, whose collection of antiquities he purchased in 1766, and later sold to the British Museum. Hancarville also produced a fine illustrated catalogue of Hamilton's own collection in four folio volumes, entitled Antiquités étrusques, grecques et romaines, first published in Naples by Morelli in 1766 and 1767, and later reissued in five quarto volumes between 1785 and 1788.
Ascham (Roger). Toxophilus, the Schole, or Partitions, of Shooting. Contayned in II bookes. Written by Roger Ascham. 1544... To which is added a dedication and preface by the Reverend John Walters, Wrexham: reprinted by R. March, 1788, slight soiling to title and dedication, bookplates, contemporary half calf gilt, joints a little rubbed, 8vo (ESTC T139768, noting that 2 of 20 listed copies recorded a frontispiece, not present here), together with Roberts (Thomas). The English Bowman, or Tracts on Archery: To which is added the second part of the Bowman's Glory, 1st edition, London: printed for the author by C. Roworth, 1801, engraved frontispiece and dedication, errata leaf at end, front hinge reinforced, contemporary calf, rebacked, rubbed with some edge wear, 8vo, with three others: Thomas Waring's A Treatise on Archery, or the art of shooting with the English Bow, 9th edition, 1832, George Agar Hansard's The Book of Archery, 1840, and The Archer's Register: A year book of facts for 1884-85, edited by J. Sharpe, Shrewsbury, 1885 QTY: (5)
Angelo (Henry). A Treatise on the Utility and Advantages of Fencing; Giving the Opinions of the Most Eminent Authors and Medical Practitioners, on the Important Advantages Derived From a Knowledge of the Art, as a Means of Self-Defence and a Promoter of Health..., A dissertation on the use of the Broad Sword..., Memoirs of the Late Mr. Angelo; and a biographical sketch of Chevalier St. George..., London: Mr. Angelo, 1817, 47 engraved plates after John Gwyn, 6 uncoloured aquatint plates by Thomas Rowlandson, and a mezzotint portrait of the Chevalier de St. George by Ward after Brown, address to reader slip tipped-in, occasional light spotting, contemporary ownership signature to front free endpaper Frederick Heberden October 1st 1826, contemporary half calf, neatly rebacked preserving original spine, corners repaired, extremities rubbed, oblong folioQTY: (1)NOTE:Thimm, pp.10-11. The volume contains the same plates as the "Ecole des Armes" of the author's father (Domenico Angelo) published in 1763, a portrait of St. George, engraved by W. Ward from a picture of Brown published 1788, and six plates engraved and designed by Rowlandson, under the care of Angelo himself, in 1798-1799.
Hook (James). Whyte's Improved edition of Guida di Musica. Being a complete book of instructions for beginners on the Harpsichord or Piano Forte... composed by James Hook, Edinburgh: William White, circa 1805, 25 pp., bound with Clementi's Introduction to the Art of Playing on the Piano Forte..., London: Clementi, Banger, Hyde, Collard & Davis, circa 1805, 63 pp., bound with 2 others: Pleyel's Six Progressive Sonatinas with Violin Accompaniments, 34 pp. and Three Sonatas for the Piano Forte, with or without Additional Keys, and an Accompaniment for a Flute or Violin... by J. Mazzinghi, 10 pp., a little minor soiling, contemporary half morocco, rubbed and scuffed, 4to, together with Arne (Thomas). Comus; A Masque. As it is performed at the Theatres Royal in Drury Lane and Covent Garden... for the Voice, Harpsichord, and Violin, London: Harrison & Co., [1783], 18 pp., together with The Chaplet, a Musical Entertainment, as it is performed at the Theatres Royal in Drury Lane and Covent Garden composed by Dr Boyce for the Voice, Harpsichord and Violin, London: Harrison & Co., circa 1783, 47 pp., plus Handel's Dryden's Ode on St. Cecilia's Day, circa 1783, engraved throughout, disbound in nineteenth-century half calf, cloth reback, some wear, oblong folio, plus Wright (T.H.) The Divertimentos for the Piano Forte with an accompaniment for the flute, ad lbitum respectively dedicated to the Miss Campions of Danny, circa 1808, pp. 14-19, bound with approximately 18 other compositions by Cramer, Von Esch, Schetky, Robertson of Ladykirk, Gow and others, some light toning and spotting, contemporary half morocco, rubbed and scuffed, to, plus others including Six Oeuvertures for Violins in seven parts as they were perform'd at the King's Theatre... Compos'd by Mr. Handel, fifth collection, circa 1740, John Bland's Ladies Collection of Catches, Glees, Cannons, 3 volumes, circa 1780, and Cathedral Music... the whole selected and carefully revised by William Boyce, 3 volumes, 1849 QTY: (approximately 50)
Frazer (James George). The Golden Bough, 12 volumes, London: Macmillan and Co, 1914-17, frontispiece to 'The Magic Art' volume 1, half-titles, endpapers renewed, modern green half morocco gilt, 8vo, together with Symonds (John Addington). The Memoirs of Count Carlo Gozzi, 2 volumes, London: John C. Nimmo, 1890, portrait frontispiece to volume 1, plates throughout (some hand-coloured), modern green half morocco gilt, top edge gilt, 8vo, plus Benson (Arthur Christopher). The Letters of Queen Victoria, 3 volumes, London: John Murray, 1907, frontispieces to each, 4 folding genealogies to rear of volume 3, armorial bookplates of 'Joicey' to front pastedowns, lightly spotted, contemporary navy blue half morocco gilt, top edge gilt, 8voQTY: (17)
Scott (Walter). The Existence of Evil Spirits Proved; And Their Agency, Particularly in Relation to The Human Race, Explained and Illustrated, 1st edition, London: Jackson and Walford, 1843, some light marginal toning & spotting, original cloth, spine & paper spine label slightly rubbed & faded, 8vo, together with:Raphael, A Manual Of Astrology, or the Book of the Stars, Being the Art of Foretelling Future Events, By the influences of the Heavenly Bodies, In a manner unattempted by any former Author and divested of the Superstitions of the Dark Ages, London: C. S. Arnold, 1828, colour frontispiece & title page vignette, monochrome plate to p.140, front & rear gutters slightly cracked, some light toning & marks, tear to the head of p.254, contemporary blue half cloth to marbled boards, lightly rubbed, 8vo, plusLongman, Green, Longam, Roberts, and Green, publisher, The Nullity Of Metaphysics as A Science Among the Sciences. Set Forth in Six Brief Dialogues, London, 1863, ex-library bookplate to the front pastedown, blind stamp to the title page, some minor toning & spotting, front board & spine partially detached, original plum cloth, boards & spine faded & rubbed, small 8vo, and other 19th-Century literature & reference, including Paris Universal Exhibition of 1867, Catalogue of The British Section., London: H.M.S.O. 1868, original red cloth, 8vo, mostly original cloth, some ex-libary copies wih associated marks, G/VG, 8vo QTY: (6 shelves)
Oenophilia - a pair of contemporary coopered mango barrel seats, each applied in the advertising manner with Châteauneuf-du-Pape, lift-off stuffed-over deep-button seat with studded border, 53.5cm high, the seat 42cm diameter (2)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling
Interior Decoration - a contemporary Art Nouveau style gilt framed wall mirror, bevelled plate, 73.5cm x 104cm; a resin table lamp modelled as an eagle; a gilt metal urnular able lamp; a set of six Christine Silver portrait miniatures; a Rapport, London, combination clock, thermometer and hygrometer; etc
Antiquarian and Later Books – Thompson’s Gardener’s Assistant, volume II only, 1904, colour plates, contemporary leather over cloth, 4to, (1); further early 20th century and later botany, including British Mosses, 1924, 8vo, (1), flowers, etc; art history; music; stage and screen; Oxford Dictionary; etc., [4 boxes]
A pair of contemporary Art Deco style clear perspex table lamps and a pair of glass table lamps The square tops above four supports, on square bases, together with large cream shades, each 49cm high including fittings together with a pair of vintage clear glass and chrome floral etched table lamps Of hollow glass, on square bases, together with white pleated shades, each 56cm high including fittings. (a.f). (4)
The Abraham Lomax 'St George & the Dragon' Pilkington's Royal Lancastrian plaster panel, modelled by Richard Joyce to the design of Gordon Forsyth, produced circa 1908, the elongated frieze modelled in relief showing St George slaying a coiled dragon with a distressed maiden looking on, entwined in briars, titled 'ST GEORGE A KNIGHT OF CAPPADOC[IA] PATRON SAINT OF ENGLAND' with Tudor Rose emblems, the panel signed by Lomax over the dragon's wing, otherwise apparently unmarked, in an oak frame (presumably the original), the panel measuring 41.5cm x 114cm, frame size 57cm x 130cm.This lot is offered with a signed copy of Abraham Lomax's self-published 'Royal Lancastrian Pottery 1900-1938', 1957, where this panel is illustrated, plate 5.Provenance:The Abraham Lomax Collection, thence by descent.Footnote:The period from 1904-1908 was instrumental for Pilkingtons with arguably some of their most influential designers and artists joining the company during this time and producing some of their most acclaimed pieces. The 1908 Franco-British Exhibition allowed them to showcase some of their very best works, including the large and impressively lustre fired St George and the Dragon vase, which later became part of the Anthony Cross collection, and recently sold at auction for in excess of £75,000. Even in 1908, the design was so regarded by those involved that it was felt "more use should be made of this masterpiece of art and craftmanship than just decoration of two vases", notes Lomax, who was Chemist at the pottery at the time. It is recorded that they decided to make six plaster casts in slab form which were presented to David Burton, Joseph Burton, William Mycock, Gordon Forsyth, John Chambers, and Lomax. The Chambers panel is in the collection of The Peter Scott Gallery at Lancaster University. The whereabouts of the Forsyth panel is unknown. It is believed the Mycock panel was the only one to be glazed, but has subsequently been lost, or whereabouts unknown having appeared at auction in 1973. The two Burton panels are believed to be within family collections. The original cast was retained until the 1972 by the factory, and was believed broken up at that time.The fact that the plaster panels are flat does not explain how the modelled frieze was transferred from or applied to the original vases without distortion, as this would have to have been fashioned on an arch to be wrapped around the body. Our thanks to Angela and Barry Corbett of the Pilkington's Lancastrian Pottery Society for their assistance with this lot and the whereabouts of the remaining panels.Condition report:There is a 2cm shallow chip to the bottom margin left hand corner. Elsewhere there are various firing lines as well as hairlines that have developed. The panel appears stable despite these lines. Most of the firing lines are in the border regions between the incised straight border outline and the panel's edge. The main network of hairlines drops through the first 'C' of Cappadocia and runs to the panel centre on a diagonal towards St George. It travels through the breast of the horse, then meets another firing line that runs horizontally across the middle of the panel across to the dragon. There is another hairline just behind the maiden's head, as well as other smaller hairlines elsewhere. The patina is quite yellowed across the panel, presumably through atmospheric dirt over the years with it being made of plaster. Some patches appear to have been worn so it is paler in finish and a little rougher - possibly from a cleaning agent, but not known. The frame appears contemporary but perhaps stripped as the colour to the front is a limed oak tone whereas the reverse is a darker stain.
1st century B.C. A gold ring comprising a round-section gold hoop and inset a later amethyst cabochon, intaglio portrait bust of a goddess looking right. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 143, for type. 4.67 grams, 23.43 mm overall, 17.60 mm internal diameter (approximate size British M 1/2, USA 6 1/4, Europe 13.09, Japan 12) (7/8 in.). Acquired 1970-2010. Collection of a late Japanese gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11323-190881. The gemstone shows a portrait of a young girl, maybe the goddess Demeter or Ceres-Hecate-Artemis, with a portrait style which seems contemporary to the ring. Demeter and Hecate were linked to the afterlife cult, so it is possible that the ring was a funerary gift. [A video of this lot is available to view on Timeline Auctions Website.]
Early 9th century A.D. A Viking period sword comprising: a 9th century high-status silver-covered lobed pommel and cross guard consisting of a Petersen Type D/E pommel composed of a broadly conical body with elliptical cross-section and rounded ends, the lower part formed as a plain broad band, the upper section with a scalloped and domed silhouette, divided into three decorative segments with detailed inlay to both faces, including diagonal hatching, faux ropework and solid angular forms contrasted with fluid interlace, seemingly creating an overall zoomorphic scheme; the cross guard with remains of the original silver-covered design, elliptical in cross-section, also with rounded ends; a contemporary 9th century Geibig type 1 variant tanged, pattern-welded blade with rounded tip and shallow fuller to both faces, the fuller with additional (worn) inlay; whilst all components are 9th century in date, the heavy pommel and cross guard were originally intended for a broader hacking blade which was seemingly replaced with this slender thrusting blade at an unknown date. Cf. Williams, G. ed., Vikings life and legend, The British Museum, London, 2014, p.18 and pp.102-103, for a similar pommel and cross-guard; cf. Willemsen, A., Vikings! Raids in the Rhine/ Meuse region 800-1000, Utrecht, 2004, pp.130-131, for a similar cross guard and pommel; cf. Rosedahl, E. ed., From Viking to Crusader The Scandinavians and Europe 800-1200, Sweden, 1992, p.292, item 243, for similar dated 9th century A.D.; cf. Oakeshott, E., Records of the Medieval Sword, Woodbridge, 2000, p.24, item 3, for similar; cf. Pierce, I., Swords Of The Viking Age, Woodbridge, 2004, pp.44-46, for more detailed discussion of type D and E pommels. 842 grams, 84.5 cm (33 1/4 in.). Acquired 1970s-1990s. From the S.K. collection, Switzerland. Accompanied by an analysis report by professional artefact assessor Russell Scott. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11397-191832. The slight curve on the blade suggests that it was perhaps deposited in a Viking howe for an extensive period. It is possible for any blade to have been re-worked, shortened and/ or ground down over the course of its life. Petersen Type D is of Norwegian origin.
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), HARBOUR LIGHTHOUSE gouache on paper, signed and dated '83, inscribed 'Porth Tywyn', titled label verso image size 32cm x 41cm, overall size 46cm x 54cm Mounted, framed and under glass. Exhibition label verso: February '85, The Torrance Gallery, Edinburgh (a rare early work by Pam Carter). Note 1: It was with great sadness that we learnt of the passing of Pam Carter in May after an illness which she wrote about to her database of buyers on 24th June 2021: "I feel at last I am retiring somewhat due to ill health. I am not painting very much these days as I am struggling with the daily regime of chemo tablets; it’s hard getting the balance of effective medication and quality of life". Note 2: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
Edna Ginesi (1902-2000) Still life of wild flowers in a vase set against a curtain, oil on canvas, in painted earlier moulded frame, 45 cm x 34 cm sight size. Provenance: by descent from the artist to the vendor. [Edna Ginesi studied at Leeds School of Art from 1920, and the Royal College of Art. She was a contemporary of Barbara Hepworth, Henry Moore and Raymond Coxon. She and Coxon married in 1926, their friend Henry Moore serving as Best Man. The four were members of the "Leeds Table", she co-formed the British Independent Society and was a member of the London Group and the Twenties Group. In the 1930s, she taught at Chelsea School of Art, serving during the Second World War as an ambulance driver and teaching painting at Guildford. Her work is representational, focusing on landscapes, nature and portraits, becoming increasingly abstract.]
A collection of books on Norfolk church architecture & ecclesiastical art, etc, including: Richard Taylor: 'Index Monasticus, or, The abbeys and other monasteries, alien priories, friaries, colleges, collegiate churches, and hospitals with their dependencies : formerly established in the Diocese of Norwich and the ancient kingdom of East Anglia / systematically arranged and briefly described, according to the respective orders and denominations in each county, and illustrated by maps of Suffolk, Norfolk, and the city of Norwich, and the arms of religious houses', London, 1821, large paper copy, folding engraved view of Norwich + plate of arms + folding engraved plan of Norwich + 2 flding engraved maps hand coloured in outline of Norfolk & Suffolk as called for, large folio, contemporary half calf gilt, rebacked retaining backstrip. Scarce; MAURICE DRAKE: THE COSTESSEY COLLECTION OF STAINED GLASS, FORMERLY IN THE POSSESSION OF GEORGE WILLIAM JERNINGHAM, 8TH BARON STAFFORD OF COSTESSEY IN THE COUNTY OF NORFOLK, intro Aymer Vallance, Exeter, William Pollard, 1920, 1st edition, 25 plates including 6 coloured as called for, folio, original cloth backed boards gilt, formerly from the library of the late Ron Fiske of North Walsham and Morningthorpe Manor, esteemed local historian, bibliophile and collector, with his bookplate to front pastedown. Scarce; 'Ranworth Rood Screen, Norfolk. Drawn by R.O. Pearson; Hawtrey J. Enraght, vicar.', [Ranworth , c. 1910?], 23 unnumbered leaves of plates, housed loose in old card folio, mounted illustration to front cover. Scarce; FARRER, Rev. Edmund: 'List of Norfolk Monumental Brasses', Norwich 1890, large paper copy, limited to 40 copies only, author ALS loosely inserted stating 40 large paper copies at 5/- each etc, headed Rickinghall, Diss, original printed paper covered boards, rebacked (not recent), m/s title to spine; Edward F. Strange: 'The Rood-Screen of Ranworth Church', Ranworth Vicarage, The Rev. Hawtrey J. Enraght, [1902], original cloth backed boards; plus 4 others including Norwich Cathedral Medieval Roof Carvings etc. From the colelction of Father Peter Harris (9)
Dick Francis, a complete collection of his first 42 books, all UK 1st editions, all signed, all published London, Michael Joseph, all in original cloth, all in dust wrappers, mainly comprising his racing thrillers/crime novels, as well as his autobiography and his biography of Lester Piggott, including: 'The Sport of Queens', 1957, signed & inscribed to FFEP "My very best wishes Dick Francis January 1958", with a contemporary gift inscription above, illustrations throughout, dust wrapper with a couple of small part losses/nicks/chips, 21s price intact, author's first book, his autobiography; 'Dead Cert', 1962, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt, replenished EP's/pastedowns, dust wrapper with some waterstaining affecting front panel, else generally VGC, 15s net price intact, the author's first thriller; 'Nerve', 1964, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 16s price intact); 'For Kicks', 1965, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 16s price intact); 'Odds Against', 1965, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 18s price intact); 'Flying Finish', 1966, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 21s price intact); 'Bood Sport', 1967, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 25s price intact); 'Forfeit', 1968, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 25s price intact); 'Enquiry', 1969, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 25s price intact)' Rat Race', 1970, signed to title page, internally leaves clean/VGC, no previous owner names/inscriptions, original cloth gilt (VGC), dust wrapper (VGC, 30s/£1.50 price intact), dust wrapper art by Trevor Denning, Richard Barton, Broom Lynne, Michael Dempsey, Ann Forshaw, Carl Bernard etc.; together with his following 31 novels consecutively, 'Bonecrack', 1971-'Under Orders', 2006, and 'Lester', 1986, the official biography of Lester Piggott, all UK 1st editions, all signed to title page, all in collectable condition, in original cloth in VGC condition, all free from previous owner inscriptions, leaves clean/VGC, all in VGC dust wrappers all with prices intact. A comprehensive run of signed 1sts of racing thrillers racing thrillers by the prolific author, a former champion jockey but perhaps best remembered for the calamitous Grand National of 1956 in which he 'lost' the race when his horse Devon Loch (owned by the Queen Mother) jumped and collapsed when clear of the field on the run-in. (42)
Harry Craddock: 'The Savoy Cocktail Book', London, (Constable and Company, 1930, 1st edition, illustrations and decorations printed in black and colours throughout by Gilbert Rumbold, contemporary gift inscription to half title, front pasted down/FFEP with scribbling/soiling, inner joint weak, original cloth backed art deco texturized boards in black, gold and green (rubbed/slightly worn)
PAIR OF CONTEMPORARY SILVER SALT & PEPPER SHAKERS ON STAND,maker's mark for Glasgow School of Art, Edinburgh 1992, each with hammered decoration, of tapered form, 21.5cm high, 185g grossCondition generally good. Light use related wear. Also a slight lean on the stand, which is very slightly misshapen. Additional images now available.
LAUREANO BARRAU BUÑOL (Barcelona, 1864 - Santa Eulària des Riu, Ibiza, 1957)."Landscape".Oil on canvas.Signed in the lower right-hand corner.It has a patch on the back.Measurements: 90 x 63 cm; 100 x 73 cm (frame).Laureano Barrau was born in the bosom of 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 pupil 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.
Chinese school, after models by WU GUANZHONG; 20th century."Portico view".Ink on handmade paper.Signature and apocryphal comments.Measurements: 40,5 x 30,5 cm.Ink drawing in which an architectural view is represented, which seems to show the door of a city of the East, which is deduced by the tops of the domes of bulbous appearance. In Eastern culture, painting is closely linked to calligraphy, and materials such as brush and ink are fused in both disciplines. The material thus becomes a highly valued artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.
LAUREANO BARRAU BUÑOL (Barcelona, 1864 - Santa Eulària des Riu, Ibiza, 1957)."Flowerpot with Lemon Tree".Oil on canvas.Signed in the lower right-hand corner.Measurements: 62 x 46 cm; 74 x 58 cm (frame).In this work the author gives prominence to a lemon tree, which in a certain way isolates from the landscape, which is closed by nature. In such a way that the artist focuses his attention on the luminosity of the scene, the bright colours and the play of shadows, thus creating an image of tactile qualities, which in a certain way transport the viewer. Laureano Barrau was born into a bourgeois family, the son of an industrial engineer and businessman. He began his training at the School of Fine Arts in Barcelona, where he was a pupil 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.
LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929)."Coastal landscape".Oil on canvas.Signed in the lower right-hand corner.Size: 100,5 x 122,5 cm; 133 x 155,5 cm (frame).The light was the great protagonist of Lluís Graner's work, both in his paintings of interior, where a quinque lighting illuminates the faces congregated in the half-light of the home, and in landscapes like the one we are dealing with, where a diffuse light reverberates everywhere: filtering from the lightly vaporous sky, it slides along the rippling surface of the sea, making land and sky, horizon and mountain dialogue.Luis Graner trained at the Escuela de La Lonja in Barcelona, where he was a pupil of Benito Mercadé and Antonio Caba, and in 1886 he moved to Paris thanks to a grant from the Diputació de Barcelona. During his five years in the French capital he won two third place medals at the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settling back in Barcelona in 1891, he continued to take part in important international exhibitions, such as those of Berlin (1891), Munich (1892) and Düsseldorf (1904). He also submitted works to the National Fine Arts Exhibitions, winning third medals in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organised his "musical visions", shows that combined poetry with music, scenography with cinema. Collaborating with him at this stage were Adrià Gual as director of the performances and Segundo de Chomón, as well as well-known poets (Verdaguer, Carner), musicians (Morera, Lambert) and contemporary stage designers (Moragas, Alarma). At the same time, Graner organised the first talkies, using the technique of placing actors behind the screen to lend their voices. Finally, ruined, he moved to America, where he returned to painting. He made several trips around the United States and Latin America, spending most of his time between New York, where he painted his first solo exhibition in 1910, and California. In 1928 he returned to Barcelona shortly before his death. His paintings, realistic in form, depict the everyday life of humble people, although he also painted landscapes and portraits. In his interior scenes he showed a profound influence of Latour, learned in his Parisian years, which led him to focus on the expressiveness of artificial light. Specialising in genre painting, he also produced landscapes and portraits. His work can be found in the Prado Museum, the MACBA in Barcelona, the National Art Museum of Catalonia, the Hispanic Society in New York and the Balaguer Museum in Vilanova i la Geltrú, among others, as well as in important private Catalan collections.
CANALS STUDIO (Catalonia, 1925-1995)."Alicia", 2001.Oil on canvas.Presents signature with anagram, date and title on the base.Measurements: 41 x 50 cm; 52 x 62 cm (frame).Child portrait on a neutral background that focuses all the attention on the girl's face and her innocent posture on the table. The piece recovers to some extent the atmosphere of the Spanish still life of the 17th century, which can be seen in the background, and the completely sober horizontal wooden table.Estudio Canals was an artistic group created in Barcelona in the 1970s. It was a small group of painters who took their inspiration from the classics, thus bringing the painting of the great masters closer to modernity. Its greatest representative was the painter Miguel Canals, a great connoisseur of techniques and languages from different periods. He bequeathed us a huge variety of works inspired by the Renaissance, the Baroque, Impressionism... Seurat's bathers, Monet's water lily pond, Pissarro's landscapes, Degas's dancers, English hunting scenes, Venetian capriccios, Van Gogh's igneous fields, Quattrocentist virgins... Canals, with his virtuosity and versatility, made a name for himself among art history collectors. Although he did not try to copy, but to create a kind of symbiosis with the original. A connoisseur of ancient techniques, he sometimes gave his paintings a period patina, but without intending to deceive; rather, as he said, he wanted future experts to know that it was a contemporary work.
Heresbach (Conrad) The Whole Art and Trade of Husbandry, Contained in Foure Bookes, edited and enlarged by Barnaby Googe, title within typographic woodcut border, occasional contemporary ink marginalia, trimmed at margins affecting manuscript notes & to head in final few pp., some staining, heavier to pp.165-183, lightly browned, 20th century half calf, faded, [Fussell I p.12; British Bee Books 9; STC 13201], small 4to, T[homas] S[nodham] for Richard More, 1614.
Plat (Sir Hugh) Diuerse new sorts of soyle not yet brought into any publique vse, first edition, collation: A-G⁴, H², woodcut title, occasional light annotations in contemporary hand, paper flaw to C3, light marginal toning,early 20th century calf, ruled in gilt, spine with red morocco label, corners and joints lightly scuffed, neatly rebacked, otherwise an attractive copy, [STC 19989, Fussell I p.15], small 4to, Peter Short, 1594.⁂ The second part only of Plat's most valuable contribution to husbandry, The Jewell House of Art and Nature, which includes much on domestic matters including preserving fruits, distilling, cookery and cosmetics.
NO RESERVE Art catalogues.- van Idsinga (Johan) Catalogus van Eene Verzameling Voortreffelijke Schilderijen en zeer fraaije gekleurde en ongekleurde Teekeningen..., late 19th century morocco-backed boards, spine gilt, extremities lightly rubbed, Amsterdam, G. Lamberts for De Vries, Brondgeest, Engelberts, and Roos, 1840 § [Grave (Robert)] A Catalogue of the Valuable and Select Collection of Prints, the Property of the Late Highly Respected and eminent Collector Mr. Robert Grave, 3 parts in 1, light scattered foxing (heavier in part II), some browning, first title with adhesion of small piece of paper, pp. 39/40 with paper-flaw, early 20th century red cloth, lightly faded, spine ends bumped, 1826-27; and 17 others, art and similar art catalogues, v.s. (19)⁂ The first is rare, with OCLC locating copies at Austin, Texas and in the Dutch Royal Library. Idsinga's collection was particularly strong in contemporary drawings and prints, including lithographs, and sale included a fine mahogany collector's cabinet. The books, prints and paintings together give a good illustration of the Dutch taste of the first half of the 19th century.
Frank Colson, A Contemporary Painted Pottery Fish (Sarasota, FL., 1931-2015) The base signed Colson. The fish resting on its spine, poised with tail and head rising upward, set upon, cf. Frank Colson, a local Sarasota artist from 1960 onwards was well-known amongst those active in Florida’s West Coast artistic community. He is best known for his ceramics, bronze sculpture, and mixed media art. Signature pieces include mask-like flat wall items and metamorphic representations of animals. Colson and his wife, Diana, relocated from Tallahassee to Bradenton in the early 1960’s, where the Manatee Art League offered him a studio to work from. In 1964, Colson bought the house and studio on Hillview Street, previously owned by Hilton Leech, one of Florida’s premier watercolorists. It was at this house and studio, now on the National Historic Register, where Colson established the Colson School of Art. As written in Colson’s biography, The Marks Project, Dictionary of American Studio Ceramics, From 1946 Onwards, “Colson was inspired by his world travels. His own term for his artistic style was “neo-primitive.” Before settling down in Sarasota he had lived in 67 countries and had found himself drawn to native artists, particularly those working in clay. Throughout his artistic career the artist work- ed with clay and bronze and was constantly interested in trying different techniques and materials. Colson claimed his desire to master so many different media came from his ‘strong sense of adventure and the desire to immerse himself in the mechanical and manual arts. Colson was an important member in Sarasota arts community. His bronzes can be seen throughout Sarasota, including, one of his best-known works, the World War I Bronze Doughboy, standing at the foot of Main Street. He served on the Board of Directors of the Museum of Asian Art in 1999, the Board of Public Art Advisory from 1990 to 1993, as its chairman from 1993 to 1994, and was a juror for the Ringling Museum of Art craft festival. Size: 4 1/4 x 2 1/2 x 7 1/8 in.
Collection of (5) Christie's NY Catalog Books: "Fine Chinese Ceramics and Works of Art" "Important Chinese Snuff Bottles From the J&J Collection, Part III" "Indian & Southeast Asian Art" "Indian and Southeast Art Including Modern and Contemporary Indian Art" "Modern and Contemporary Indian Art." Size: 10 1/2 x 8 1/4 in.
A contemporary Heron Glass paperweight of compressed ovoid form, modelled as a stylised pond with green glass water lilies over an iridescent blue ground, mounted with a white metal seated frog, width 10cm, together with two Neo Art Glass examples by K Heaton decorated with white metal spiders over a stylised spider's web ground, width 11cm.
Art, Frieze Masters 2013 Catalogue no 2 from Deutsche Bank (Frieze Art Fairs) Softback Book published by Frieze Masters Publications, , includes Frieze Masters Fair Guide. Frieze Art Fair is an international contemporary art fair in London, New York, and Los Angeles. Frieze London takes place every October in London's Regent's Park. In the US, the fair ran on New York's Randall's Island from 2012-19 and in 2021 was held in the Shed at Hudson Yards, with its inaugural Los Angeles edition taking place February 2019. The London edition normally has about 160 exhibitors in Frieze. It is held over four days in a 40, 000SqM tent. There is a simultaneous Frieze Masters event showing older work with about 130 exhibitors, and a temporary sculpture park. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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