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Click here to subscribeBritains set 101, Mounted Band of the 1st Life Guards RARE FIRST VERSION, 'red and gold' jackets, slotted arms with Drum Horse and Bombardon (Condition Good, kettle drummer head loose, front of drums some paint missing, drum horse tail and legs bent, bombardon arms loose (fits in place) one cymbal arm missing) 1899 (12)
Lucian Ercolani - Ercol - Model 361 - A mid 20th Century beech and elm wood baby giraffe bookcase trolley / whatnot from the Windsor range. The trolley bookcase being raised on castors with three chamfered edge tiers having spindle gallery upright supports with further spindles between the first and second tiers. Measures approx; 71cm x 91cm x 32cm.
Spanish school, 18th century."Saint Charles Borromeo before the Virgin and Child".Oil on copper.Measurements: 41 x 33 cm; 56 x 47,5 cm (frame).A court of angels, in the lower plane, holds a phylactery and garlands, forming a first ascending circle, which is followed by a choir of seraphim. In the upper plane, Charles Borromeo in prayerful pose is about to be canonised by the Child Jesus, whom the Virgin is holding in her arms. This is a typically Baroque break of glory. Golden lights envelop the figures and model them in their rounded, sculptural forms. Saint Charles Borromeo was a reformer saint of the post-Tridentine period, cardinal nephew of Pius IV and archbishop of Milan. From an aristocratic family, he received the clerical tonsure at the age of eight, and shortly afterwards was sent to Milan to study humanities under the preceptor Bonaventura Castiglioni. In 1559 he obtained a doctorate in law, and in the same year his uncle, Giovanni Angelo de' Medici, was elected pope, a decisive event in the life of the young Charles. The recently appointed Pope Pius IV sent him to Rome and showered him with honours and dignities, including that of cardinal. A man of extraordinary talent for government, his life changed radically when he was ordained a priest in 1563. He gave up his worldly tastes, such as hunting and music, and retired to the Jesuits. However, he again took part in Vatican politics at the third convocation of the Council of Trent, where he was able to avoid serious conflict. Later, when he was ordained Cardinal of Milan, the most famous event of the saint's life took place, which defines the heroic self-sacrifice and sense of responsibility of his office: the so-called plague of St. Charles in his city. Borromeo was away, but when he heard of the outbreak of the plague, he hastened his return to help the sick both materially and spiritually. Once there, he made alms begging in the city and sold his remaining precious objects from his own patrimony. He even gave up the hangings of his palace to make clothes. He went everywhere in person, visited all the neighbourhoods and administered the last sacraments himself to the priests who succumbed to this work of charity, disregarding the danger of contagion.
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Veduta degli Monumento del Condotto delle Acqua Claudia" and "Avanzo del Castello dell'Aqua Claudia".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13.5 x 20 cm (print c.u.): 57 x 42 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every afternoon to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzo del Tempio di Castore e Polluce" and "Veduta degli avanzi del tablino della Casa Aurea di Nerone".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13 x 20 cm (print); 10.5 x 27 cm (print): 57 x 43 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views were selling best and to listen to customers' comments. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzo del Tempio della Speranza Vecchia" and "Stanza scoperta e demolita nella Vigna Casali".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13.5 x 20 cm (print c.u.): 57 x 42 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views were selling best and to listen to customers' comments. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Spanish school of the third quarter of the 18th century."The Last Supper.Oil on canvas. Without stretcher.Measurements: 63 x 151 cm.The Last Supper is one of the most relevant representations in the history of western art. In the first place, because it is the concrete moment in which the sacrament of the Eucharist is established, since Jesus in this supper made the analogy between his body and the bread, and the wine and his blood. Secondly, the mythical scene, which was painted by Leonardo, laid the foundations of Renaissance aesthetics, thus contributing a conception of perspective that was hegemonic until well into the 20th century. In this particular case, the scene reflects this aesthetic based on the Leonardesque composition, and the figures are arranged in a similar manner. However, in this work the artist dispenses with the landscape and places all the main characters in an inconcrete interior space dominated by the presence of black. Although all the figures are placed in the form of a frieze, the artist has established several planes that give a certain depth to the whole. These are defined by the apostles in front of or behind the table, and by the anecdotal elements in the foreground, such as the jars, which allude to the moment when Jesus decided to wash the feet of all his apostles before the supper.
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703)."Jesus and the adulteress".Oil on canvas.Relined.Measurements: 84 x 105 cm; 95 x 116 cm (frame).In this oil painting by Matías de Arteaga, as was typical of this painter's art, the architectural interior has been meticulously described and worked following the precepts of Italian perspective. However, Renaissance spatial solutions became more complicated in the Baroque period, with the superimposition of scenes and spaces. The main scene is occupied by Jesus, who points to the ground while saying "Let him who is blameless cast the first stone". In front of him is the woman who was to be stoned for adultery. The other figures are stunned and undecided by his words. The relief effect of the figures carved in the stone, the rich plasticity of the robes and the flesh tones, as well as the solution of the groups escaping towards a background of arcades are remarkable. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, such as the Wedding at Cana, which belongs to the collection of the Museo de Bellas Artes in Seville, or the Marriage of the Virgin, in the collection of the Museo del Prado.Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
Spanish or French school of the 17th century. Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."The Descent from the Cross".Oil on panel. Engatillado.Size: 63 x 46 cm; 80 x 63.5 cm (frame).The present panel is a faithful reproduction of the painting of the same subject, "The Descent from the Cross", painted by Peter Paul Rubens in 1612. It is the central part of a triptych, which also shows the Visitation of the Virgin and the Presentation of Jesus in the Temple. It is kept in Antwerp Cathedral, Belgium. The author of the present work may have become acquainted with Rubens' painting through a contemporary engraving by Lucas Emil Vorsterman, as is attested by an engraving identical to the present work in the Rijks Museum.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, such as the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family was originally from. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral. By this time Rubens was already the leading painter in Flanders and it was in his workshop that outstanding masters such as Anton van Dyck and Jacob Jordaens were trained. Today works by Rubens are to be found in the most important collections throughout the world, including the Prado Museum, the Hermitage in Saint Petersburg, the Louvre in Paris, the Mauritshuis Gallery in The Hague, the Metropolitan Museum in New York, the National Gallery in London and the Rijksmuseum in Amsterdam.
Spanish school of the second half of the 18th century."Christ tied to the column".Oil on canvas.It presents faults in the frame.Measurements: 140 x 87 cm; 161 x 108 cm (frame).The theme of the Ecce Homo has been stripped here of all anecdote, showing Christ with his hands tied behind him to a low column, but without the narrative attributes characteristic of this episode, such as the crown of thorns and the reed in his hand that the soldiers placed on him to mock him before he was condemned. Here, the intensity of the chiaroscuro modelling the suffering body is enough to convey the pathos of the moment. The solitude of the saviour's figure, his bowed head and half-closed eyelids accentuate the character's psychological isolation in the face of complete abandonment. The cloth of purity as the only clothing absorbs the white of the contrasting lighting, rich in nuances, leaving the background dark. Only the colomna is recognisable. The anatomical work also stands out, the expressiveness of the muscles in tension, the veins and tendons that throb beneath the epidermis.Formally, this work is related to the naturalistic Baroque trend that dominated the Spanish school in the first half of the 17th century, influenced by Caravaggio and his followers. Thus, the canvas displays all the basic characteristics of this style. Firstly, the tenebrist, artificial, focused lighting directed towards the most important areas of the composition, creating expressive chiaroscuro and leaving the rest in a nuanced semi-darkness that speaks of the painter's mastery. On the other hand, the composition is also typical of naturalism: simple, clear and realistic, with Christ in the foreground against a defined background but worked in neutral tones. Finally, we should also note the highly studied and nuanced colour range, with a palette revolving around ochres, carmines and earthy tones, typically Caravaggist.
17th century Spanish school."Saint Peter".Oil on canvas.Measurements: 62 x 48 cm.The canvas represents the prince of the apostles, Saint Peter, facing the spectator but with his face turned in profile, directing his gaze towards an exterior point of the composition. The saint is easily identifiable thanks to his usual iconographic features: a prominent bald head, grey hair and a short beard. The composition is dominated by earth tones and a strong chiaroscuro, characteristic of the Spanish school of the 17th and 18th centuries, as well as the use of emphatic and monumental forms. As a result, in this canvas we see a colossal Saint Peter, with protruding, pronounced cheekbones. It is a heavy figure, well constructed in terms of volumes, in a twisted posture. Saint Peter (Bethsaida, c. 1 BC - Rome, 67) was, according to the New Testament, a fisherman, known to be one of Jesus' twelve apostles. The Catholic Church identifies him through the apostolic succession as the first Pope, based among other things on Jesus' words to him: "You are Peter, and on this rock I will build my Church, and the power of Death shall not prevail against it. I will give you the keys of the Kingdom of Heaven. Whatever you bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven". St. Peter could be said to have been Jesus' confessor, his closest disciple, the two being united by a very special bond, as narrated in both the canonical and apocryphal Gospels.
Circle of FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628).First half of the 17th century."The Saviour".Oil on canvas.It has a small hole on the left side, not very noticeable. It presents lateral bands added.Measurements: 51 x 44,5 cm; 65 x 58 cm (frame).In the present image, we are shown a portrait of Christ as Saviour, a typical representation that embraces the Christological concept of Jesus Christ as saviour. As far as can be seen, he is dressed in the ornamental clothing, a blue tunic and a red cloak belonging to his usual representation. It is a triumphant Christ who has conquered death and saved the world; his attitude is serene and almost smiling, with no traces of suffering left.Originally Catalan, Ribalta began his training at El Escorial, within the Mannerism that dominated court painting at the time. After beginning his career in Madrid he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style somewhere between the mannerism of the Escorial style and naturalism. During these early years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic shift in Ribalta's work. His language took on an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models by Sebastiano del Piombo that he knew in Valencia itself. Ribalta was able to combine these influences with a naturalistic, direct language for which he was particularly gifted. His chromaticism also became more restrained and sober, and his figures became less gesticulated and more expressive. From the second decade of the century his pupil Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team in which it is sometimes difficult to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last and most mature period of his production. He painted fewer works, but his style became more intense and emotive, moving towards a profound naturalism of moving force, as can be seen in his great painting "Embrace of Saint Francis to the Crucified", painted for the Capuchins in Valencia around 1622. Six years later Francisco Ribalta died, and a few months later his son Juan also died, leaving behind guidelines in Valencian painting that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalistic language in Spain.Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery in London, the Fine Arts Museum in Valencia, the Hermitage in St. Petersburg, the Louvre, the National Art Museum of Catalonia, the Chi-Mei in Taiwan and the J. Paul Getty Museum in Los Angeles, among other leading art galleries around the world.
School of GIUSEPPE RECCO (Naples, 1634 - Alicante, 1695)."Spider crab".Oil on canvas.It has a 19th century frame.Measurements: 30 x 50 cm; 39 x 57 cm (frame).In spite of the few elements that are portrayed in the work, all of them are treated with mastery reflecting the special qualities. Normally, images of crustaceans are presented in the form of still lifes. However, in this work the spider crab is the absolute protagonist, not as a still life that forms part of a larger whole, but still alive in the sea that lightly covers its legs.Both the subject matter and the aesthetic are highly reminiscent of the painting of Giacomo Recco, who was born in Naples and was probably apprenticed to his family, his father Giacomo Recco and his uncle Giovan Battista Recco. He later perfected his technique with Paolo Porpora, who had been his father's pupil. During a stay in Lombardy from 1644 to 1654 with his uncle, he was influenced by the works of Evaristo Baschenis. As his fame spread, King Charles II invited him to travel to Spain. His style is often compared to that of Giovan Battista Ruoppolo, who was also a pupil of Porpora. Early in his career he moved from painting flowers to more varied assemblages and was one of the first Italian painters to do so. Recco may have died in Alicante, Spain, before arriving in Madrid, although contemporary sources indicate that he lived there for seven years and became a Knight of the Order of Calatrava.
DAVID TENIERS "The Young Man" (Antwerp, ca. 1610 - Brussels, 1690)."Kermesse".Oil on canvas. Relined.Attached report issued by the art dealer Jacques Helft (France, 1891 -1980).With repainting and restorations.Signed in the lower right area (barrel).Measurements: 16 x 21 cm.The canvas shows a rural scene in which some peasants celebrate a meal and different games in front of several houses. Thus recreating a stylistic pattern typical of the genre scenes by David Teniers (Antwerp, 1610 - Brussels, 1690). The scene features some of the pictorial devices popularised by the young David Teniers, who succeeded in revitalising the genre. In depicting these popular festivals, Teniers departed from the aesthetic and compositional schemes of Jan Brueghel "the Elder", repeating the same idyllic vision of the peasant world that was also widely used in Flemish literature of the time. He depicted the Kermes or Kermesse, the name given to neighbourhood festivals with food and drink stalls, where games of skill, children's games, raffles and artistic performances were held.The son of David Teniers I, in his youth he remained faithful to his father's style. However, he soon specialised in genre painting, which was closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence extended into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
MARTIN VAN HEEMSKERCK MAARTEN VAN HEMSERCK (Heemskerk, 1498-Haarlem, 1574)."Vanitas.Oil on oak panel. Engatillada.Size: 63 x 69 cm; 85 x 101 cm (frame).In a sober interior rests the figure of a small boy, who sleepily rests one of his hands on a skull, while with the other one he holds a poster on which it can be read "Nascendo Morimur". The image, which loses its innocence through the presence of death as an idea lurking over the child's innocence and innocence, takes place in an interior of great spatial amplitude. In this space, only the curtain stands out as an ornamental element, which, due to its colour and modelling, brings luminosity and volume to the work. On the right-hand side, the space is open to a distant landscape dominated by the cold colours of the vegetation, while the sky has been painted in a warmer ochre. In this vegetation, the figure of a second character can be seen, which is outlined in the composition. Returning to the words on the poster carried by the protagonist, Nascendo Morimur refers to a specific 16th-century artistic genre, which could be translated as "As we are born, so we die". This was a popular theme in Flanders and Germany during that period, and is strongly related to the more popular Vanitas still lifes. Within the genre of vanities, which was so important, depicting the transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounce the relativity of knowledge and the vanity of the human race subject to the passage of time and death. Its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity").Marten Jacobszoon Heemskerk van Veen was a Netherlandish painter of the so-called Antwerp school, known for his portraits, his religious works and his reconstructions of the Seven Wonders of the World, which were disseminated throughout Europe in prints. He learned with Jan van Scorel and was influenced by Italian Mannerism in his workshop, but his style changed radically when he was able to travel to Italy (with a long stop in Rome, where he seems to have collaborated with Antonio da Sangallo the Younger on the Porta di San Sebastiano) and see everything at first hand. Even after returning to his native country in 1536, he always maintained a highly ornamental aesthetic, which earned him a very comfortable position and a certain prestige. His work, which is not very abundant, is to be found in museums such as the Fitzwilliam in Cambridge (UK), the Thyssen-Bornemisza in Madrid, the National Museum in Warsaw and the Rijksmuseum in Amsterdam, as well as in important private collections.
Air Combat Legends vol 1 by Nicolas Trudgian Signed by Nicolas Trudgian, Dennis David & One Other 1998 First Edition Hardback Book with 96 pages published by David & Charles Spine in 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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AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Ceria temblor", 1995.Oil on canvas.With label on the back from Fauna's Gallery (Madrid).Signed in the lower right corner.Measurements: 27 x 38 cm; 40,5 x 48,5 cm (frame).A surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.
DANIEL VÁQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969)."Profile Portrait, 1923.Pencil on paper.Signed and dated in the lower left corner.Size: 30.5 x 23 cm; 46 x 38 cm (frame).Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to concentrate on painting and copying the masters of the Prado, where he became friends with Juan Gris, Solana and Darío de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. Around this time he began to develop his personal style, which blends the constructive brushstrokes of Cézanne with the geometric and flat structure of Cubism. On his return to Spain in 1918, he began to teach, first in his studio and later at the San Fernando School of Fine Arts, where he was awarded the chair of mural painting in 1932. Through his classes, Vázquez Díaz disseminated a Cubism of architectural monumentality, which served as a bridge between the young artists and the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz excelled as an illustrator and portraitist of some of the most important figures of his time. His murals for the monastery of La Rábida in Huelva between 1927 and 1930, which established him as a painter, are particularly noteworthy. In 1968, a year before his death, he was appointed a member of the San Fernando Academy. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.
JULIO PERIS BRELL, (Valencia, 1866 - 1944)."Woman Sewing. 1918.Oil on panel.Signed and dated in the lower right corner.Size: 24 x 18 cm; 48 x 41 cm (frame).Julio Peris Brell was a painter who specialised in landscapes, portraits and still lifes, with a language that was particularly sensitive to changes in light. He began his studies in Fine Arts in 1876 and in 1882 was appointed secretary of the section of painter-members of the Ateneu Científic, Literari i Artístic de Valencia (Scientific, Literary and Artistic Athenaeum of Valencia). He completed his training two years later, and decided to devote himself exclusively to painting, without teaching. In 1886 he was made a full member of the Ateneu, and four years later he presented his first important work, "La fe del baptisme", at the National Exhibition of Fine Arts in Madrid. There he met the brothers Ricardo and Pío Baroja, with whom he would strike up a lasting friendship. After the creation of the Cercle de Belles Arts de Valencia in 1894, he took an active part in its activities, especially in its group exhibitions. At the same time, he devoted himself to producing works which, in these last years of the 19th century, were aimed at the Catalan market. However, he also presented his painting outside our borders: in 1897 he took part in the National Exhibition of Fine Arts in Mexico and, already in Spain, although outside Catalonia and the Valencian Community, he took part in the exhibitions organised by the Academy of Fine Arts of Cadiz, as well as in those of Fine Arts in Murcia. At the same time, he continued to rise through the ranks of the Cercle de Belles Arts de València, and carried out projects such as the decoration of the staircase of the palace of José Ayora. In 1911 he expanded his activity and began to collaborate as a draughtsman with the magazine "Letras y Figuras". In 1912 he joined the new Círculo de Bellas Artes, where in 1914 he was appointed president of the painting section. His success and prestige grew, and in 1923 an entire room was dedicated to him in the exhibition "Manifestación del arte valenciano" held at the Palacio del Buen Retiro in Madrid. Two years later he took part in an important group exhibition of Spanish art held in Buenos Aires. On the other hand, from 1926 onwards he exhibited regularly at the Sala Emporium in Valencia, and in 1928 he was appointed a member of the San Carlos Academy. His successive successes continued and in 1943, a year before his death, the Prat gallery dedicated an important anthological exhibition to him. Peris Brell is currently represented in the Valencia Museum of Fine Arts, as well as in other public and private collections.
NURIA LLIMONA RAIMAT (Barcelona, 1917 - 2011)."Calvary".1964.Fire enamelled terracotta.On wooden panel.Signed and dated on the back.It presents cracks and damages.Measurements: 41 x 27 cm (Christ); 47,5 x 33 cm (frame).Daughter of the painter Joan Llimona and niece of the sculptor Josep Llimona, Núria discovered her early vocation at the age of twelve. During the 1930s she studied at the Barcelona School of Fine Arts, which was closed during the years of the Civil War because of the danger of bombing, given its proximity to the sea. After the war, Llimona resumed his studies and obtained his degree, which enabled him to teach for fifteen years at the same school. He held his first solo exhibition at the Syra gallery in Barcelona, and since then he has held personal exhibitions at other galleries such as Novell and Parés, as well as with different groups. She has also taken part in official exhibitions, winning several prizes, and was president of the 9th and 10th editions of the Salón Femenino de Arte Actual. In 2000, Núria Llimona received the Sant Jordi Cross, and in 2006 she was awarded the Barcelona Medal of Honour. She is currently represented in the Museums of Contemporary Art in Madrid and Barcelona.
AURORA ALTISENT I BALMAS (Barcelona, 1928)."Palau de la Música Catalana", 1979.Lithograph, copy P.A.Signed, dated, titled and justified.Frame with slight lack of gilding. The paper has slight damp stains.Measurements: 52 x 74 cm; 57 x 78 cm (frame).A painter and draughtswoman, Aurora Altisent trained with López Obrero and Ramón Rogent. She held her first individual exhibition in 1956, after having begun to make herself known through collective exhibitions. In the first stage of his career he worked mainly in oil painting and fresco, although he also produced sculptures and illustrations. Since 1972 she has devoted herself almost exclusively to drawing, with a language characterised by a calligraphic line of meticulous detail. His work is currently represented in the Museo de Bellas Artes in Valencia and the Francisco Godía Foundation in Barcelona, as well as in numerous private collections.
VIRGILIO PASQUALE (Melfi, 1885-Sarno, 1953)."Tribute to the city of Barcelona", Barletta, Italy. Ca. 1900-1910.Pastel on paper.Signed and located in the lower left corner.Size: 89 x 123 cm; 92 x 125 cm (frame).The city of Barcelona shines with force in this brilliant composition ascribed to the modernist school. There are many iconographic elements that allow us to identify it as a tribute to the city of Barcelona, starting with the waterfall of the park of the Citadel, crowned with the chariot of the Aurora, represented in the lower part of the painting; the first Barça coat of arms that shines at the feet of a modernist lady, or the representation of the façade of the Sagrada Familia in the left part of the composition. Other elements, such as a bullfight in the ring of a bullring (possibly the Monumental), the interior of a cloister (most probably that of the Cathedral in the Gothic quarter) and one of the chimneys of Barcelona's old textile factories (which still today recall the industrial importance Barcelona enjoyed in the 20th century), corroborate the Barcelona identity of this painting. As a final touch, it is worth mentioning how all the elements mentioned above come together in a large setting with the Mediterranean Sea as a backdrop, with the Columbus monument fading into the background. The clearly modernist clothing of the bourgeois families in the scene, as well as the other elements that make up this particular composition, lead us to think that Virgilio Pasquale (an Italian who lived in Barletta) may have spent some time in Barcelona.
JOSÉ VELA ZANETTI (Milagros, Burgos, 1913 - Burgos, 1999).Untitled.Gouache on paper.Signed in the lower right corner.Size: 68 x 98 cm; 71 x 101 cm (frame).Scene of post-cubist aesthetics in which the author plays with the intersection between planes, which he generates based on colour fields. In the centre of the scene, two figures are the protagonists of the image, completely oblivious to the viewer. Their arrangement and appearance are reminiscent of nativity scenes, as they exude a certain halo of mysticism and religiosity. Born in Milagros, in the province of Burgos, he moved to León with his family when he was a child. There he held his first exhibition in 1931. Supported by his father, after finishing high school he travelled to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterwards he obtained a grant to visit Italy, awarded by the Diputación Provincial de León. As a result of the Spanish Civil War he left for the Dominican Republic, where he remained until 1960. In Santo Domingo he started, together with other exiled artists, the National School of Fine Arts. During this period he held exhibitions and projects in Mexico, Colombia, Puerto Rico and the United States. Throughout his life he received important public commissions, such as the mural inaugurated in 1953 at the UN headquarters to commemorate the fiftieth anniversary of the Universal Declaration of Human Rights, considered his most important work. Other notable works include the historical murals for the Provincial Council of Burgos and the frescoes in the old Ercilia Theatre in Barahona, Dominican Republic. He was an academician of San Fernando, and Doctor Honoris Causa by the University of Burgos. In 2001, the Centro Cultural de la Villa de Madrid held a retrospective exhibition of Vela Zanetti's work, the most important to date, under the title "Antológica". Recently, an exhibition commemorating the tenth anniversary of his death was held at the Ángeles Penche gallery in Madrid. Works by him are kept in the collections of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia and Switzerland. Currently, from 17th May until 14th July, an important exhibition dedicated to the work of Vela Zanetti can be visited at the Fórum Evolución in Burgos, commemorating the centenary of his birth and the most complete anthology of this painter held to date.
JOSÉ ROYO (Valencia, 1945)."Woman with a pitcher".Oil on canvas.Signed in the lower right corner.Measurements: 100 x 81 cm; 129 x 110 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm modelled by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture and silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
JOSE MURILLO BRACHO (Seville, 1827 - Malaga, 1882)."Still life with figs".Oil on panel.Signed in the lower right area.Measurements: 27 x 18 cm.Still life of baroque heritage as for the illumination and the composition, starring only figs in different states of ripeness. Although he was born in Seville, José María Bracho Murillo - when signing his name he inverted his surname - is considered to belong to the Malaga school. He lived in Seville until 1876, where he studied at the Academy of Noble Arts of Saint Elizabeth of Hungary, where in 1844, at the age of seventeen, he won the first prize in the classes of Model in Plaster and Pieces. Among his teachers at that time was the famous painter Antonio María Esquivel, who became his teacher. He taught drawing in Cadiz in the middle of the century, and in 1854 he commissioned Esquivel to paint two large nude works: "La casta Susana" and "La mujer de Putifar". He also taught line and figure drawing at the Jerez de la Frontera secondary school and took part in the local exhibitions of 1858 and 1862, where he won a silver medal. It seems that he also sent works to the National Exhibition in Madrid at that time. Later he took part in the National Exhibition of 1871, and was praised by the critics with phrases such as "You deserve a flower for your beauty" (Ramos Carrión). In 1876 he was in Malaga, where the San Telmo Academy of Fine Arts hired him as a teacher and acquired several of his paintings as teaching material for the colouring class. In 1877 he presented several still lifes and fruit paintings at the exhibition held on the occasion of King Alfonso XIII's visit to Malaga. On this occasion, the monarch heard from the master Ferrándiz that Murillo Bracho "paints with the mastery of a teacher and the precision and awareness of a nature lover. The flowers are real, without his realism offending us". Some of his works exhibited on this occasion were later acquired by the city council. In 1878 he again took part in the National Exhibition, with several paintings of flowers, grapes and other fruits. That same year he took part in the Universal Exhibition in Paris. Despite his deteriorating health, Murillo Bracho took part in the local exhibition of 1880 with several of his paintings. Murillo Bracho's work was always dominated by his two favourite themes, grapes and flowers, depicted in a purist language that recalls bygone eras through its balance, weight and skill. His painting is based on the real fidelity of the objects to be represented, always rich in their chromaticism and with an attractive and elegant appearance. Murillo Bracho is currently represented in the Municipal Museum of Malaga.
MONTSERRAT GUDIOL COROMINA (Barcelona, 1933)."Couple", 1977.Mixed media on paper.Signed and dated in the lower right-hand corner.Size: 65,5 x 49,5 cm; 66,5 x 50,5 cm (frame).Montserrat Gudiol began in the world of art in the family studio for the restoration of medieval painting, and from 1950 she began to paint on panel and on paper. That same year she held her first individual exhibition at the Casino de Ripoll (Girona). In 1953 he took part in the group exhibition "Retrato actual" ("Current Portrait") at the Círculo Artístico in Barcelona, and the following year he made his debut abroad with a solo exhibition of drawings held at the Miami Museum (USA). That same year she took part in the collective exhibition "Pintura femenina" (C.I.C.F. of Barcelona), winning the First Prize of the Diputació de Barcelona and the Second Prize of the same organisation, San Jorge. In 1960 she took part in the National Exhibition of Fine Arts held in Barcelona, where she won a third medal, and also took part in the International Drawing Exhibition of the Ynglada Guillot Foundation (Barcelona), where she was awarded First Prize. In 1962 she held an important individual exhibition at the Sala Gaspar in Barcelona (a gallery where she would be present again from then on), and that same year she took part in a collective exhibition held at the Casón del Buen Retiro in Madrid. Since then he has continued to hold solo exhibitions and to take part in group shows, both in Spain and in Germany, South Africa, the Czech Republic, China, France, Japan, the United States, Russia and Canada. His personal exhibitions include those held at the Pieter Wenning Gallery in Johannesburg (1967), Tamenaga Gallery in Tokyo (1974), Au Molin de Vauboyen in Paris (1978), the Exhibition Hall of the Union of Painters of the USSR in Moscow (1979), the Dreiseitel Gallery in Cologne (1981) and the Walton-Gilbert Gallery in San Francisco (1984). In 1980 she produced an important monumental work for the Abbey of Montserrat, a representation of Saint Benedict. In 1981 she was the first woman to join the Royal Catalan Academy of Fine Arts of Sant Jordi, and in 1998 the Generalitat de Catalunya awarded her the Cross of Sant Jordi. She is currently represented at the MACBA, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes de Bilbao, the Museums of Modern Art in Johannesburg, San Diego, Miami and Flint (USA), the Joseph Cantor Foundation in Indianapolis (USA), the International Olympic Committee in Lausanne (Switzerland), the Monastery of Montserrat and the Royal Academy of Fine Arts of Sant Jordi.
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte au compotier", 1951.Oil on canvas.Signed in the lower right corner.Provenance: Work acquired at the Art Curial gallery in Paris in June 1982.Work published in "Francisco Borés. Catalogue Raisonné. Pintura, Tomo II, 1945-1972", Hélène Dechanet, MNCARS and Fundación Telefónica, Madrid, 2003.Work exhibited in "Bores, Retrospective 1923-1972". Peintures, gouaches, dessins" 1982, Artcurial Paris, pg 28.Size: 59 x 71 cm; 63 x 76 cm (frame).This painting belongs to an extremely fertile creative period for Bores. Even though he was already an internationally recognised artist in the fifties, his work, far from stagnating, continued to expand the limits between figuration and abstraction. Here we see a return to the object through the still life but without renouncing the two-dimensionality, the intellectual synthesis and the force of colour applied in planes that defined his painting.Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended the Julio Moisés Free Academy, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists. He travelled to Paris, where he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London. In 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries. In 1969 he exhibited at the Galería Theo in Madrid. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. Francisco Bores is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, the Museo de Arte Reina Sofía in Madrid, the National Museum of Fine Arts in Madrid and the National Gallery of Madrid.
"TINO", CONSTANTINO GRANDIO LÓPEZ (Santa Olalla de Lousada, Lugo, 1924 - 1977)."Hunter", 1966.Oil on canvas.With a label on the back from the Macarrón Gallery.Signed and dated in the lower right-hand corner.Measurements: 70 x 52 cm; 79 x 58,5 cm (frame).Grandio's painting always oscillates between neutral tones, especially white in contrast with black, in such a way that this work stands out for the play of colour that he achieves on the basis of wide fields of different tones, which make up an idealised landscape. As the protagonists of the scene, the silhouettes of a dog and a gentleman carrying a shotgun show us the conceptualisation of traditional hunting paintings. This same concept, in which scenes with an almost costumbrista theme are presented based on figures cut out against a background of faint, neutral tones which blend into each other, was common in the work of Tino Grandio, as can be seen in his painting "Ploughing with a Roman plough", which belongs to the Abanca collection. It is an image aesthetically conceived from the point of view of abstraction, as if it were a primordial path that the artist follows until he reaches figuration in a subtle and lyrical way. The treatment, based on broad brushstrokes, brings a great symbolism to a totally indeterminate atmosphere.Tino Grandio studied high school in Lugo and then moved to Santiago, but soon abandoned his studies to devote himself definitively to painting. In 1949 he went to Madrid, where he was assisted by the sculptor Cristino Mallo and the painter Díaz Caneja, joining the group of the Madrid School. In 1955 his work was selected for the Hispano-American Art Biennial held in Barcelona, and he made his individual debut in 1957 with an exhibition at the Dirección General de Bellas Artes in Madrid. Since then he has held numerous solo exhibitions in Madrid, Barcelona, Lisbon, Paris, New York, Munich and Alexandria. He also took part in group exhibitions in Europe and South America. An award-winning painter since his youth, he won the Lugo provincial prize in 1944, and since then he has been awarded other important prizes such as the Stanley Kramer (1956), Cance (1960) and Unicef (1968) prizes, and was awarded first prize at the Anthological Exhibition of the Círculo de las Artes in Lugo (1964), grand prize and medal of honour at the first Galician Biennial (1966), and the International Grand Prize for Painting at the Marbella Biennial (1971). He took part in the National Exhibitions of Fine Arts, being awarded the third medal in 1962, the second in 1964 and the first in 1966. In 1963 he was awarded the Grand Prize of the General Directorate of Fine Arts. In 1965 he was awarded a scholarship by the March Foundation. After his death, several anthological exhibitions were dedicated to him in different parts of Galicia, sponsored by the Fauna gallery, among which the Homage Exhibition held in the Provincial Council of Lugo in 1979 stands out. In 2005, the Museum of Fine Arts of La Coruña dedicated an anthological exhibition to him entitled "Painting with the mists". Tino Grandio is currently represented in the Centro Galego de Arte Contemporánea de Santiago de Compostela and in the Museo de Arte Contemporáneo de Madrid, as well as in many other museums in Spain, Europe and America.
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972)."Domestic Animals", 1952.Oil on canvas.Work reproduced in the catalogue raisonné Volume II. Francisco Bores, painting 1945-1972, p. 232.With informative labels on the back (Laine Lana Gallery, Biosca Gallery and Louis Carré Gallery).Signed and dated in the lower right-hand corner.Provenance: Louis Carré Gallery (Paris).Size: 38.5 x 46 cm; 61 x 69 cm (frame).A year before this work was made, Borés joined the group of artists of the Louis Carré Gallery in Paris. In the image Borés offers us a scene made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, constructed by means of broad brushstrokes with energetic strokes. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of all artifice or anecdotal detail.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
GUSTAVE SCHWARZ (c.1809 - c.1854)."St. Elizabeth of Hungary 24 years old on her deathbed", 1853.Oil on canvas. Re-coloured.Signed in the lower right corner.Presents Christie's label of 1981.Measurements: 101 x 130 cm, 120 x 150 cm (frame).In the image, we see an interior scene in the room of a lady, on the bed, the one who is the owner of the rooms appears recumbent, with her whitish face like the sheets and almost her hair. In the rest of the room, four people, probably her relatives, mourn her loss. As for the composition and light of the image, it is undoubtedly reminiscent of Tenebrism and Caravaggiesque painting, where the light emanates from a specific point, not necessarily a logical one, and from there, the other lights and above all the shadows of the rest of the painting are governed.In 1217 Ermanno I, prince of the Empire, died in Hungary. He was succeeded by his son Ludovico, who solemnly married the fourteen-year-old Isabella in 1221. She became "Elisabeth of Hungary". In 1222 her first son Ermanno was born, Sophia in 1224 and Gertrude in 1227. But the latter came into the world already fatherless.Widowed at the age of twenty and with three children, Elizabeth received her dowry back, and there were those who made plans for her: she could remarry at that age, or enter a monastery like the other nuns, to live there as a nun, or even as a queen, as suggested by her confessor. But she decides to set up a hospital for the sick and poor where she offers her whole life. She visits the sick twice a day and then offers help to anyone who needs it. And all this while remaining a widow, a laywoman.After his death, the confessor revealed that, during her husband's lifetime, she devoted herself to the sick, even the disgusting ones: "To some she fed, to others she provided a bed, to others she carried them on her shoulders, always doing everything possible, without, however, coming into conflict with her husband".She died in Marburg at the age of 24, often called a saint, which led Pope Gregory IX to order an investigation into the wonders attributed to her. She was canonised in 1235, still by Pope Gregory.
GABRIEL PUIG RODA (Tírig, Castellón, 1865 - Vinaròs, Castellón, 1919)."Family of Peasants".Oil on panel.Signed in the lower right-hand corner.Measurements: 40,5 x 26 cm; 42,5 x 27,5 cm (frame).A family of grape pickers appears gathered around a big basket. Attentive observer of his immediate surroundings, the painter composes an intimate scene brimming with activity. Oblivious to our gaze, each character focuses on his work. The costumes, based on scarves, lace and prints, are depicted with a folkloristic flavour.Gabriel Puig Roda studied art at the San Carlos School of Fine Arts in Valencia, where he entered in 1879 thanks to a scholarship from the Diputación de Castellón. Again with a scholarship he went to Madrid to further his studies at the San Fernando School. There he obtained the pension to go to Rome in 1889, where he remained until 1892. In the Italian capital, in order to perfect his use of watercolour, he attended classes at the Academia Chigi and the Círculo Internacional de Bellas Artes, showing the influence of his Italian contemporaries in his work during these years. In 1890 he had already gained a certain international public, to whom his proxy sold panels and watercolours. His first Roman period came to an end at the end of his scholarship in 1892. He then travelled to Pisa, Genoa, Milan, Padua, Venice and Bologna, where he made sketches of typical landscapes and places which he used for his compositions. After a period in Spain he returned to Rome and painted "The Expulsion of the Moors", a painting he sent to the Valencia Provincial Council in 1894. His works from this period fall into two main groups; firstly, there are the Fortuny-influenced themes, which include genre and orientalist paintings. Secondly, there are the naturalistic themes, such as "El mendigo de la guitarra" ("The beggar with the guitar") and "La visita del corregidor" ("The visit of the corregidor") in which Puig Roda, influenced by the literature of his time, crudely depicts genre scenes of the period. After a period in Barcelona, the painter finally settled in Vinaròs in 1905, where he specialised in watercolours of genre scenes. An important collection of his works was donated by his children in 1975 to the Diputación de Castellón de la Plana, destined for the future Provincial Museum of Fine Arts. An international watercolour competition is currently held in Vinaròs and bears his name.
JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991)."Flors, gerro fosc".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés, Barcelona.Attached leaflet of the exhibition in which it was included: "Josep Amat: exposició de pintura", Sala Parés, 1981.Published in the newspaper La Vanguardia on 28 February 1981. Attached original sheet.Measurements: 65 x 50 cm; 68 x 53 cm (frame).In this floral still life, Josep Amat displays an attractive chromatic symphony using a luminous palette. The serpentine stems are topped with open corollas that endow the whole with multicoloured delicacy. The vase, placed on a gueridon-type table, is cut out in front of a window through whose panes of glass the spring greenery is prolonged.Josep Amat trained at the Llotja School in Barcelona and was a favourite pupil of Joaquim Mir. In 1922 he took part in a group exhibition for the first time and sold his first landscape. Six years later, in 1928, Amat made his solo debut with an exhibition of twenty-eight works at the Dalmau gallery. From then on he exhibited individually in the most important galleries in Barcelona. In 1933 he took part in the Spring Salon, winning prizes in that edition and also in those of the following two years. That same year he travelled to Paris for the first time, where he became known in 1936 in a group exhibition. In 1940 he exhibited for the first time at the Sala Parés, where he exhibited frequently until 1987. During these years he took part in the Barcelona Spring Salon, winning prizes in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, a diploma in 1942 and the Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Now fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the outbreak of the Civil War he was forced to give up plein air painting and began a period centred on figures and interiors. In addition to his awards in national competitions, he won the José Ramón Ciervo prize at the Second Spanish-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premi Sant Jordi (1955), the Ynglada Guillot drawing prize (1963) and the Gold Medal of the Barcelona International Painting Fund (1981). Between 1942 and 1970 he taught landscape painting at the Barcelona School of Fine Arts. He joined the Sant Jordi Royal Catalan Academy of Fine Arts in 1981, with a speech entitled "History of Landscape". This painter is remembered as the leading exponent of 20th-century Catalan Impressionism, and has been honoured with various exhibitions, including one organised by Barcelona City Council at the Espai Pruna in 2001 to mark the centenary of his birth, as well as the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia.
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.
VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Twilight".Oil on canvas.Signed in the lower left corner.Work exhibited at the Witcomb Salon in Buenos Aires, 1930. Referenced in the catalogue of the exhibition with n.84.Measurements: 91 x 91 cm; 112 x 112 cm (frame).This is a type of composition that Valentín Zubiaurre used repeatedly, and which here manages to express a genuine feeling: with the members of a family in the foreground (in this case, a grandmother and her grandchildren) and the Basque landscape opening up behind them, with fields, farmhouses and rocky outlines. In the self-absorbed faces, the contrast between the smoothness of the young faces and the aged skin of the old woman stands out. The ochre and sienna tones dominate the whole, lending the painting a melancholy patina. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, with the development of an art with a Romantic, costumbrista and realist heritage, which focused on depicting subjects and characters that reflected a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937)."Mimosas through the greenhouse".Oil on paper and board.Signed in the lower part. Signed and titled on the back.Size: 50 x 70 cm; 60 x 80 cm (frame).Son of Emilio Grau Sala and Ángeles Santos Torroella, he trained in Barcelona. In 1949 he makes several trips to Paris, where he has the opportunity to contemplate at first hand works by Sisley, Van Gogh and various impressionists and post-impressionists. He held his first solo exhibition at the Sala Libros in Saragossa in 1957. Since then he has held personal exhibitions in the Syra, Rovira and Vayreda galleries in Barcelona; Alas, Abril, El Cisne, Collage and Biosca in Madrid; Justin Lester in Los Angeles, Art Roman in Tokyo, etc. Since 1966 he has exhibited regularly as a solo artist at the Sala Parés in Barcelona, and in 1968 he took part in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on colour, is characterised by a very elaborate technique and a profound knowledge of drawing. He also produced numerous drawings, which were published in various newspapers and magazines. His awards include the La Rambla Prize (Barcelona, 1961), the Ramón Rogent Medal (Salón de Mayo, Barcelona, 1962), the medal of the Fine Arts Exhibition (Madrid, 1961), the 3rd Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), the City of Barcelona Medal (1965), the Huesca Painting Biennial Prize (1976), the Countess of Barcelona Medal (Madrid, 1983) and the Medal of Honour in the BMW Competition (Madrid, 1987). In recent years he has participated in the ARCO fairs in Madrid and ARTEXPO in Valencia, Barcelona, Basel, New York, Chicago, Miami and Hong Kong. In 1993 the Mapfre Vida Foundation in Madrid dedicated a retrospective exhibition to him.
JOSEP ARMET PORTANELL (Barcelona, 1843 - 1911)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 100 cm; 84,5 x 124 cm (frame).An outstanding painter and lithographer, Armet cultivated landscape, genre, portrait and decorative painting. He began his training at the La Lonja School of Fine Arts in Barcelona, where his teacher was Ramón Martí Alsina. In the early 1960s he moved to Rome to further his studies, where he became friends with Mariano Fortuny. He submitted works to national and local exhibitions and was awarded an honourable mention at the National Exhibition of 1864 and a third medal at the 1866 edition. He also exhibited regularly at the Sala Parés in Barcelona from 1877 onwards. In 1872 he was awarded a prize at the Official Exhibition in Le Havre, France, and in 1878 he took part in the Universal Exhibition in Paris. In the field of lithography, in 1866 he produced a series entitled "La juventud pintada por sí misma" ("Youth Painted by Itself") along the lines of Eusebio Planas, the publication of which was banned. As a decorator, the paintings he produced for the Café del Liceu in Barcelona are particularly noteworthy. At first his language followed the style of the Olot School, a town to which he had moved in 1870 to escape the yellow fever, together with the painters Urgell, Caba and others, actively collaborating with his colleagues in the consolidation of the Centro Artístico Olotino (Olot Artistic Centre). For his landscapes he took sketches from life, which he then transferred to oil, sifting them with artificial light. His style during these years is part of Catalan realist landscape painting, with appreciable Roman influences in his technical preciosity. However, during his last years his style evolved along lines that were linked to the work of Ramon Casas and the first Picasso. He turned his gaze towards contemporary street themes, featuring ordinary people, and his brushstrokes acquired a greater looseness and gestural sense. Josep Armet is represented in the Museo del Prado and the Museo Provincial de Girona, among other public and private collections.
FRANCISCO HERNÁNDEZ MONJÓ (Mahón, Menorca, 1862 - Barcelona, 1937)."Ships in the port of Mallorca".Oil on canvas.Signed in the lower right corner.Presents old restoration and slight flaws in the painting. Frame with slight faults in the polychromy.Measurements: 29 x 49 cm; 41 x 61 cm (frame).Outstanding sailor, specialised in the painting of ships, Hernández Monjó was the main renovator of the marine genre in the Balearic Islands at the end of the 19th century. Born into a family of silversmiths, from an early age he devoted himself to drawing the ports and ships of Mahón. At the age of twenty-three he was already teaching art in Mahón, where he had numerous disciples. In 1890 he settled in Barcelona, where he completed his training at the School of Fine Arts with Eliseo Meifrén. That same year he took part in the National Exhibition in Madrid. He also took part in the Barcelona General Exhibitions of 1894 and 1920, and in 1936 in the I Saló d'Independents. He also held exhibitions in South America, where his work was very well received. In 1898, the Tasso house in Barcelona commissioned a collection of watercolours of warships for the book "La Armada Española". He exhibited in Mahón, Madrid, Barcelona and South America, and was always well received by the public and critics. In his first stage, his work can be framed within the realist painting of the second half of the 19th century. Drawing predominates over colour, the brushstroke is flat and not very impastoed, and the colour range is soft and uniform, with a predominance of blues, greens and whites. They are often works with a low horizon, with the sky occupying most of the painting. In 1890, with his change of residence, a new stage in his painting began, characterised by the influence of the Catalan landscape painters, especially Meifrén. Hernández Monjó introduced new elements such as the diagonal composition, where the choppy sea, the boats with their sails extended and the contrasting sky are the main motifs. His brushstrokes became denser, firmer and shorter, and warmer tones such as pinks and reds were introduced into his palette. The last stage of his work, from 1920 onwards, is characterised by a luminous exaltation of Impressionist roots and a more impastoed brushstroke, with vivid tones, resulting in compositions of enormous strength. The subject matter broadened to include views of the Catalan coast and its surroundings. Hernández Monjó is mainly represented in private collections, although he also has works in the Museum of Menorca, the Ateneo de Mahón, the Nautical School of Barcelona and the Museu de les Drassanes in Barcelona.
ANDRÉS LARRAGA Y MONTANER (Valtierra, Navarre, 1862 - Barcelona, 1931)."Vista de pueblo (Village View). 1993.Oil on canvas.Signed and dated in the lower left corner.Size: 75 x 151 cm; 107 x 182 cm (frame).Larraga began his artistic training in Barcelona, as a disciple of Josep Armet, a landscape painter and follower of Martí Alsina and the Barbizon school. His first works were characterised by a romantic style of landscape painting, with references to Millet. In 1886 he arrived in Paris, where he came into contact with the work of Berthe Morisot and Édouard Manet, as well as with Impressionist painting. It is not known how long the painter stayed in Paris, although it is known that he alternated his trips with stays in Barcelona, where in 1887 he took part in his first group exhibition, organised at the Sala Parés. In addition to exhibiting regularly in that gallery, he took part in the Extraordinary Fine Arts Exhibitions in Barcelona and in the National Fine Arts Exhibition in Madrid in 1922. Larraga's work is kept in the Museo Thyssen-Bornemisza and the Museo de Bellas Artes de Navarra.
LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Bouquet of flowers".Oil on canvas.Signed in the lower right corner.In good state of conservation.It has a stamp on the back from the restoration workshop.Measurements: 33 x 24 cm; 50,5 x 41 cm (frame).Lucien Genin studied at the Ecole des Beaux-Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.
Army & Navy Stores officers First Aid Kit belonging to Lieutenant Colonel TR Ubsdell who served in both the Boer War & WW1. Late 19th or early 20th century Leather covered Army & Navy Stores 105 Victoria Street, London S.W. officers First Aid Kit embossed on the lid with the officers name: T.R. UBSDELL. Containg various pills and potions in two layers of trays, some of which are in their original containers. Width 21cms (8.25ins) by 14cms (5.5ins) by 6cms (2.375ins) high. Auctioneers note: Thurlow Richardson Ubsdell was born 31st December 1872 in New York, his mother Genevieve was an American heiress married to an Englishman. He was a graduate of Jesus College Cambridge and when the Boer War broke out he was commissioned from the University Training School as a 2nd Lieutenant in the Royal Field Artillery on the 26th May 1900. He subsequently served in South Africa and was awarded the Queens South Africa Medal with Cape Colony, Orange Free State, Transvaal and South Africa 01 clasps. He remained with the RFA, was promoted to Captain and retired on 23rd August 1912. At the outbreak of WW1 he re-enlisted with the RFA on 26th August 1914, he was twice Mentioned in Despatches (1914 & 1917) and was awarded the Distinguished Service Order in 1917. He was promoted to Temporary Lieutenant Colonel and finally resigned his commission on 28th July 1920. He died on 23rd February 1955 in Milton, HampshireCondition Report: Remains of a leather strap to the sides of the kit. Marks and scratches to the leather
Three Meissen coffee cups, each decorated with cherubs at play, 6cms high (3).Condition ReportThe first cup has had the gilt rubbed on the handle and rim, dirty inside and there is fritting to the base rim. The second cup has had the gilt rubbed on the rim edge, dirty inside and has fritting to the foot rim. The third cup has had the gilt rubbed on the rim edge, handle gilt decoration has been rubbed at high points. There is also fritting to the foot rim and a very small chip to the foot rim and a glaze chip to the foot rim.
A pair of Chinese famille vert vases decorated with figures at work, with moulded maks ring handles, each 23cms high (2).Condition ReportThe first vase has a restored rim and some glaze chips, also some pox marks to the surface. The second vase has some chips to the glaze around the rim and a small chip to the base above the foot rim and fritting to the foot rim. The vase body has pox marks to the glaze.
A Victorian silver Gothic mis-struck error coin, double headed, created when the first coin hadn't cleared the press before the next was struck. Condition Reportwe believe this to be a florin. 11.7g 30mm diameter but have been advised that it may be a Queen Victoria British India Rupee Brockage error.
A rare WW1 paper knife inscribed TAHURE, made from an artillery shell drive ring 26cms (10.25ins) long together with three other paper knives or letter openers. Auctioneers note: The village of Tahure was completely wiped off the map during the First World War and its territory was eventually attached to Sommepy in 1950, the new town is called Sommepy-Tahure (4)
Bouncing with Bartok The Incomplete Works of Richard Twardzik by Jack Chambers 2008 First Edition Softback Book with 310 pages published by The Mercury Press some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Oxford Studies of Composers Avro Part by Paul Hillier 1997 First Edition Softback Book with 219 pages published by Oxford University Press some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Giles Goat Boy or, The Revised New Syllabus by John Barth 1967 First Edition Hardback Book with 710 pages published by Martin Secker and Warburg Ltd some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Ruth Jones Signed Book Never Greener by Ruth Jones 2018 First Edition Hardback Book with 483 pages Signed by Ruth Jones on the Title page published by Transworld Publishers some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
A Visual Dictionary of Art 1974 First Edition Hardback Book with 640 pages published by Heinemann / Secker and Warburg Ltd some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Cuisine Spontanee by Fredy Girardet 1985 First English Translation Edition Softback Book with 266 pages published by Macmillan London Ltd some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Gervase Phinn Signed Book Out of The Woods but Not Over The Hill by Gervase Phinn 2010 First Edition Hardback Book with 273 pages published by Hodder and Stoughton some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
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