PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."La blanche".1925Oil on canvas.Signed and dated in the lower right corner.Measurements: 116 x 89 cm; 135,5 x 108,5 cm (frame).The aura of Picasso's influence surrounds Pruna's work, and this is particularly evident in this work, which Pruna produced at a time when the most avant-garde European painters were looking back (to the Renaissance or Ancient Greece), reinventing classicism in their own way. Picasso was immersed in his classicist period when Pruna moved to Paris in the 1920s, and a relationship of friendship and mutual admiration began between them. The mark that the Malaga-born artist, in his post-Cubist period, left on Pruna is strongly felt in this painting. Elegance and simplicity are masterfully combined in this composition. The stylised profile of a young woman with her back to us is enhanced by the white scarf covering her black hair. A tight-fitting dress reveals the subtle swirl of her form. Faint silvery shadows define the curve of the buttocks, and these silvery glimpses reverberate on the girl's pearly flesh tones. Only a slight hint of crimson and the carmine of the fine lips interrupt the rich range of greys, which are also shared by the background. The room occupied by the figure is barely hinted at with a few linear strokes.A mainly self-taught painter, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). Following the outbreak of the Civil War, Pruna continued his international exhibition activity, and his exhibition in London in 1937 was particularly noteworthy. After the war he combined his easel painting exhibitions with mural painting, a genre in which his works in the monastery of Montserrat were particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
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1927 PATTERN VICKERS STEEL HELMET AND BADGE , EXTREMELY RARE HELMET ACCOMPANIED WITH LARGE HEAVY WOOL IRISH VOLUNTEER GREAT COAT 1923 PATTERN. THE VICKERS HELMET IS TO BE KNOWN AS ONE OF THE MOST RARE TO FINDAlthough made by Vickers a UK based company the style of helmet was often referred to as German or Coal Scuttle helmet. This style of helmet was worn as part of the Irish Defence battle dress between 1928 to 1938.
A diamond ring by Kutchinsky, 1972, and a dress ring, circa 1970, the first designed as a bicoloured 18ct gold column, set with three brilliant-cut diamonds to one side, the second set with a rectangular lapis lazuli panel within an abstract quatrefoil surround set with two brilliant-cut diamond highlights, first signed ‘Kutchinsky’, London hallmark, maker’s mark, second stamped ‘14Kt’, total diamond weight approximately 0.50 carat, ring sizes G and K. £400-£600
A gem set dress ring by Margaret Barnaby, circa 1970, of abstract naturalistic design, set with a circular-cut chrysoberyl to the centre and a polished ruby cabochon to the side, with chased and repoussé detailing throughout, signed ‘BARNABY’, numbered ‘93122’, stamped ‘18K’, ring size M. £400-£500 --- Margaret Barnaby is an American jeweller and artist. Her work is inspired by the natural world and her jewellery designs tend to be highly sculptural and abstract. Barnaby is particularly well known for her chasing and repoussé techniques.
A shell cameo brooch, second half of 19th century, carved to depict Aurora (Dawn) in billowing dress, carrying garlands of flowers and leading Apollo, God of the Sun, in his golden chariot drawn by four horses, with winged putto, Twilight, above, bearing a flaming torch, and surrounded by a dancing maidens (the Hours), all bearing to earth the light of the New Day; the cameo gold mounted with scrollwork decoration to the border, closed-back setting, dimensions 8.3 x 6.5cm. £700-£1,000 --- The image is after Guido Reni, L’Aurora, 1613-14, the ceiling fresco painted for the Casino dell’Aurora adjacent to the Palazzo Pallavicini-Rospiglosi, Rome, and commissioned by Cardinal Scipione Borghese.
An emerald and diamond dress ring and earrings, horizontally set with three rows of marquise-cut emeralds with brilliant-cut diamond highlights, the earrings of stylised spray design, similarly set with marquise-cut emeralds and faceted white stones, stamped ‘585’, earring length 19mm, ring size P. (2) £300-£400
A rubellite and diamond dress ring by Mary Carmen, the oval mixed-cut rubellite in twin claw settings, between diamond set shoulders, each collet set with a trio of brilliant-cut diamonds, total diamond weight approximately 0.25 carat, ring size R. £800-£1,000 --- Accompanied by a report card from Mary Carmen stating that the rubellite weighs approximately 10 carats. Report number SB-209, dated 7 December 2000.
A diamond dress ring by Sidersky, circa 1950, set with three brilliant-cut diamonds, within a pear-shaped surround of baguette and brilliant-cut diamonds, to a reeded wirework gallery and hoop, cased by Sidersky, Johannesburg, three principal diamond weights (unmounted) 1.25, 1.20 and 1.20 carats, ring size S. £6,000-£8,000 --- The vendor commissioned the ring from Sidersky’s, providing the three principal diamonds. Sidersky & Son were the oldest family-run jewellery manufacturing company in South Africa, with more than 100 years of continuous trading, from 1902-2006. Adolph Sidersky, the founder, was educated and trained in Leipzig, Germany, as an engraver, setter and jeweller. He emigrated to South Africa in the late 1800s, participating in the Boer War on the side of the Boers. After the war in 1902, he opened his own manufacturing jewellery studio in Surrey House, Rissik Street, Johannesburg. In 1928, his son Max joined the business, taking over the company when his father died in 1959. The studio specialised in the mounting and setting of gemstones in platinum or gold, gaining a reputation for excellence in their craftsmanship - indeed commissions in the early 1950s included those from a South Rhodesian firm for jewellery that was presented to the young Princess Elizabeth, and later to the Queen Mother and Princess Margaret. In 1973 Sidersky’s opened a retail shop in Sandtown City. In the late 1950s, Max Sidersky was active as the chairman of the South African Manufacturing Jewellers Association, with a progressive attitude to the development of jewellery manufacturing, in 1958 arguing the case for introducing a standardised jewellery hallmarking system - which was to take another 55 years before legislation established a South African hallmarking system in 2013. The company was sold in 2006.
A diamond dress ring by Sidersky, circa 1960, the bombé ring formed as a series of scattered batons, interspersed with old brilliant and brilliant-cut diamonds with calibré-cut diamond shards, to a reeded hoop, cased by Sidersky, Johannesburg, two principal diamonds approximately 1.00 and 1.05 carats, remaining total diamond weight approximately 2.40 carats, ring size U. £4,000-£6,000 --- The vendor commissioned the ring from Sidersky’s.
A Scottish silver cast pepper modelled as a Newhaven fishwife in traditional striped working dress and cap, her arms folded, the figure raised on screw off circular base, by William Hamilton & Son, Edinburgh 1926, height 8.8cm. £300-£400 --- The Newhaven Fishwives were photographed by David Octavius Hill and Robert Adamson between 1843-47, as part of a series of photographs documenting the life and work of the fishermen and women of Newhaven, an independent fishing village to the north of Edinburgh. Because their early paper-negative process (calotype) could not record the fishermen at sea, Hill and Adamson focused instead on Newhaven’s fishwives. Whilst the men went out to sea, the women did most of the land work, such as gutting and preparing the fish and they would walk the hilly two miles from Newhaven to the centre of Edinburgh carrying willow baskets filled with freshly caught fish. They were known for their distinctive traditional costumes of brightly coloured striped working dresses, woollen aprons and white caps and their robust natural beauty. They were admired for their strong and heroic character and were renowned for their sharp tongues which gave rise to the Scott’s expression “a tongue like a fishwife”. Image Caption: A calotype of the Newhaven Fishwives by Hill and Adamson, 1843-1847.
A French gold and enamel vesta case, circa 1900, of rectangular form with sloping sprung hinged lid, enamelled throughout, the front and reverse depicting images of Fanny Legrand, in two different black gowns, front panel with artist’s monogram, dimensions 50 x 36 x 10mm. £500-£600 --- The image to the reverse of the vesta case is after the oil painting by Italian artist Ignace Spiridon, painted in 1894, depicting Fanny LeGrand, the main character from the French author Alfonce Duadet’s novel ‘Sappho’, published in 1884. The story was a thinly disguised autobiographical account of Daudet's love affair with the notorious Parisian model-cum-courtesan, Marie Rieu, the story perhaps written as moral tale intended for his two sons to read when of age. In 1900, an American play of the same name, ‘Sapho’ (sic) was produced by Clyde Fitch, and based on the 1884 French novel. The play caused a sensation in New York City leading to an indecency trial involving the play's star and producer/director, Olga Nethersole. The court case was ultimately considered to be a landmark case in the transformation of American society away from the Victorian morals of the past. Spiridon’s painting was used as the basis for the theatre posters advertising Olga Nethersole’s role in the play. The Broadway poster shows a more modest version of the dress length than seen in the original painting.
A malachite and diamond dress ring retailed by David Morris, circa 1972, of crossover design, each side set with a heart-shaped malachite plaque and a brilliant-cut diamond, with textured borders and satin finished shoulders, French assay mark, partial maker’s mark, London import mark, sponsor’s mark ‘DM’, ring size N. £300-£500
A tiger’s eye bracelet, pendant and dress ring, the bracelet composed of five tiger’s eye cushion-shaped panels, three decorated with pierced work African animals and figures, the reverse stamped with unidentified maker’s mark, ‘375’ HAND MADE SOUTH AFRICA’, clasp stamped ‘9ct’, with a bowed rectangular pendant en suite, applied with a cabochon tiger’s eye, on suspensory loop, by the same maker, similarly stamped, together with a tiger’s eye dress ring, of cubic reeded design, bracelet length 18.8cm, pendant length (including suspensory loop) 5cm, ring size J (leading edge). £500-£700
MODERN JEWELLERY BOX & QUALITY CONTENTS - to include an oval amber type pendant silver mounted drop on a silver belcher link necklace, 34cms overall L, large silver mounted facet cut green stone pendant, 4.5 x 2.5cms, two paste set trellis type bracelets in silver and white metal, 9 and 12cm lengths, three silver paste set dress rings, sizes P, mid P-Q and mid Q-R, a pair of 9ct gold earrings set with pale blue stones and tiny white sapphires, a pair of 14ct gold Mexican CZ set earrings and a similar pair in base metal, circular copper and enamel brooch stamped 'Handarbeid Balestrand Norge', 5.25cms diameter, circular silver and tortoiseshell lidded trinket box London 1918, Maker's mark C&A within an oval, 6cms diameter and a Victorian silver vesta case, Birmingham 1892, Maker's mark P.BS having leaf chased decoration to the front with monogrammed central cartouche and semi-curved back, 5.25 x 3.75cms, ETC
US HOUSE - 12". A quality collection of around 50 12", mostly US house. Artists/ titles include 280 West - Scattered Dreams, Armand Van Helden, Rainbow Bridge - Discoman The Party, Dred Stock - Pump Dress It, Dance Fever - A Women In Love, Donna Summer - I Will Go With You, DJ Chis Harshman - CK/NY, The Look - Glammer Girl, Astral Matrix - Do It 96, C Lime Woman, Moa, Testament, DJ FEX, Sanfrandiscko Trax, The Stickmen, DJ Sneak, Johnny D & Nicky P, Plux, Soul To The Rhythm, Latino Circus, Masters At Work, Ms Mona Lisa, Danny Tenaglia, Roc & Presta, DJ Pierre, Selway, Freaky Chakra, Johnick Miami, Dangerous Minds, Mila, Morel, Yoshitoshi, Project 4007, Studio X, Optimystic, Valerie Johnson, Cartouche, Waterlillies, The Fog, Todd Terry, Paranoid Jack, Owen Trushell, Dynamic, Kam Denny, Subliminal. Condition is generally VG+ to Ex+.
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228098 item(s)/page