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Click here to subscribeA Citrine Pendant on Chain, pendant length 3.5cm, chain length 61cm; An Emerald Brooch/Pendant, stamped '18K'; Two Bangles (one stamped '585'); and A Malachite Necklace, length 43cmCitrine pendant on chain - 13.3 grams. Brooch/pendant - 5.5 grams. Bangle stamped '585' - 20.6 grams. Other bangle - 11.0 grams. Malachite necklace - stamped '14K', 3.3 grams.
A Small Quantity of Jewellery, including an emerald and diamond ring, finger size L (a.f.); an amethyst brooch, stamped '9CT', length 4.6cm; a 9 carat gold opal and diamond crescent brooch, length 5.2cm (a.f.); and a pair of cultured pearl earrings, with screw fittingsRing - 2.4 grams. Amethyst brooch - 3.9 grams. Opal brooch - 2.8 grams. Earrings - stamped '15CT', 2.7 grams.
An early 20th Century Arts and Crafts Arthur and Georgie Gaskin paste and mother of pearl pendant necklace. The pendant having open work scrolled floral details set with pear cut emerald paste stones and square cut ruby paste stones, with two drop shaped mother of pearl panels all suspended from a fine round link chain with a spring ring clasp. Signed G to lower drop. Chain measures 21 inches. Pendant measures approx 4.3 x 6.4cm. Weight 11.5g.
SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931)."Landscape.Oil on canvas.Signed in the lower right corner.Restorations visible on the back.Measurements: 54,5 x 67 cm; 69 x 82 cm (frame).A dirt road goes into the landscape until it gets lost behind a dense grove. Sienas and earthy colours cover the plain and form a symmetry in dialogue with the limpid sky mottled with mauves in the sunset. Dark foliage and the emerald green of the trees border the terrain. The composition has been masterfully studied to achieve effects of calm and stillness.A painter, writer and playwright, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a subject that would define his later style. In 1890 he returned to Paris with Casas and Utrillo. In 1893 he left his studio in Montmartre and moved to the Ile Saint-Louis, where he focused on the psychological study of the figure. On his return he exhibited at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appeared in his literary work. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a one-man show held in 1899, brought Rusiñol international recognition, and his success was based on a new vision of Spain, totally free of clichés and full of truthfulness. In 1908 he was awarded the medal at the National Exhibition of Fine Arts.
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