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Lot 376
FINCHLEY F.C Souvenir programme for the Opening of New Playing Pitch followed by Finchley v Barnet for the Mather Cup with proceeds in aid of Finchley Memorial Hospital. The fixture list shows that this was both clubs first game after the war for the new 1946/47 season. Light fold, slight marks, no writing. Generally Good
Lot 771
1962 ECWC Preliminary Round Sevilla v Rangers (2nd Leg) played 26/9/1962 in Seville. Official Sevilla club magazine ''Serva Sevillista'' dated September 1962. Includes previews for the match, reviews of the first leg in Glasgow, team line-ups etc. This issue is regarded as the programme by Rangers collectors. Very light fold. Generally good
Lot 103
MANUEL MORENO GIMENO (Valencia, 1900 - 1982)."Bathing the children", 1940.Oil on panel.The frame is damaged.Provenance: Private Collection of Luis García Berlanga.Signed and dated in the upper left area. Signed, dated and located (Valencia) on the back.Measurements: 14 x 11.5 cm; 24.5 x 20.5 cm (frame).Painter and decorator, Manuel Moreno began his training at the School of Fine Arts in Valencia, and in 1923 he was awarded the first prize of the Circle of Fine Arts. He combined his artistic practice with teaching, which he did from 1941 at the San Carlos School of Fine Arts in Valencia. That same year he was awarded the National Prize for Fresco Painting and in 1945 he won the third medal at the National Exhibition of Fine Arts in Madrid with his work "La Marañosa". Moreno specialised in luminist landscapes, which he alternated with academic portraiture and some genre subjects. In 1970 he was appointed full professor at San Carlos. Throughout his career he held several exhibitions of his work, both in Spain and abroad. He is currently represented in the Museo de Bellas Artes San Pío V in Valencia, the Faculty of Medicine in the same city, the Museo del Prado (his work is part of the MNCARS, on deposit in the Town Hall of Porriño, Pontevedra) and other public and private collections.
Lot 113
ANTONIO PEYRO (Castellón 1881-1954)."Fallera".Ceramic.It has faults in the nose area.Provenance: Private Collection of Luis García Berlanga.With the artist's stamp and sticker on the base.Measurements: 18 x 11 x 10 cm.Antonio Peyró Mezquita was a painter, sculptor, ceramist and goldsmith. He was born in Onda (Castellón) in 1881. He began working in his father's forge when he was just a child, his first approach to the fire of the forge. After his time at the forge, he became an apprentice in the workshop of the master Viciano, coinciding with the sculptor Francisco Paredes. At the age of fourteen Peyró was awarded a scholarship to study at the Academy of Fine Arts of San Carlos (Valencia). In 1926 he went to Madrid to continue his studies at the San Fernando Academy, where he met teachers such as Emilio Sala and Muñoz Degrain. He became interested in painting, ceramics, design, sculpture and goldsmithing; thanks to his diversity of themes, his dynamism and fantasy placed him among the most important painters of his generation from Castellón. His most outstanding works include his series of large group paintings, such as "Valencianos a caballo en día de gala" (Valencians on horseback on a gala day). Thanks to Peyró's artistic work, he ended up discovering the typical ceramics of Castellón. His production included ceramic figurines, especially those dedicated to Valencian female figures, such as: "Valencianas", "Juegos Florales" (Floral Games) and "Danza Valenciana" (Valencian Dance). The figures were finished to perfection, the forms were solid and simplified. Peyró's works were very popular in his time, such was their success that he opened two houses selling his figures in Valencia and Madrid. He was a professor at the School of Ceramics in Madrid, the city where he lived for most of his life. He died in Valencia in 1954.
Lot 114
ISABEL VILLAR ORTIZ DE URBINA (Salamanca, 1934).Untitled.Lithograph on paper. Copy 102/125.Provenance: Private Collection of Luis García Berlanga.Signed and justified in pencil.Size: 24 x 33,5 cm; 27 x 38 cm (frame).A painter, sculptor and engraver, Isabel Villar began her training at the San Eloy School of Fine Arts, and later moved to Madrid to continue it at the San Fernando School (1952). In the capital she joined the group La Cepa, and in 1957 she made her name in a group exhibition held at the Casa de Salamanca in Madrid. The following year he made his individual debut in the Sala Miranda in his native city, where he returned after finishing his studies, joining the Koiné and Tormes groups. After a stay in Santander he returned to Madrid for good, and there he took part in important group exhibitions until 1971, when he presented himself individually for the first time in that city. His work is currently represented in the MNCA Reina Sofía, the Museums of Contemporary Art of Elche, Toledo, Seville, Villafamés and Santa Cruz de Tenerife, the National Library of Madrid, the Testimoni collection of La Caixa, the Vatican Museum and many other collections, both public and private.
Lot 17
CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Landscape", 1979.Oil on canvas.Signed in the lower right corner. Signed with initials and dated on the back.Size: 46 x 55 cm; 69 x 77 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
Lot 21
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Rue de Montmartre".Oil on canvas.Signed in the central right area.Size: 46 x 64,5 cm; 57 x 75 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, who had just landed in the French capital in 1906. Scenery such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine river were masterfully immortalised by Maclet through a Post-Impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of Montmartre life in 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting which earned him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after the First World War, and he maintained this success for the rest of his career due to the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer Dosbourg bought some of his first Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which sometimes recall Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its exhibition "Paintings of the 20th Century"; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, in time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany and Venezuela, as well as a major exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Today, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
Lot 23
CASIMIRO GRACIA RAGA (Ayora, 1898 - 1985)."Still life", 1940.Oil on canvas.Signed, located and dated in the lower right-hand corner.Measurements: 82 x 100 cm; 99 x 119 cm (frame).Casimiro Gracia Rafa was a Valencian painter born in 1898. In his youth, he worked in a mechanical workshop as a bronze worker. He attended the studio of the painter Teodoro Andreu, who gave him his first lessons and guided him in his vocation. In 1915 he entered the San Carlos School of Fine Arts and during his student years he frequented the Juventud Artística Valenciana association. He graduated with brilliant marks and was awarded the "Roig" prize. When he finished his studies, he moved to Madrid, where he came into contact with the most outstanding masters. In 1929 he made himself known in the capital in a solo exhibition held in the Madrid Athenaeum, which was a great success with the public and critics. In 1935 he travelled to Palma de Mallorca, where he remained for several months, devoting himself entirely to painting. That same year he was awarded the pension of Count of Cartagena. During the Civil War he was a member of the Board for the Protection of Artistic Heritage and of the Alliance of Anti-Fascist Intellectuals of Valencia. He participated with a work in the Pavilion of the Second Spanish Republic at the International Exhibition in Paris in 1937. As a painter he developed a body of work in the great Spanish academicist tradition. He was an admirer of Ribalta, Espinosa, Velázquez, Navarrete and Sorolla. He mastered all artistic genres and exhibited his work in the most important Spanish cities. Many of his works can be found in various museums and private collections in Spain and abroad. He died in Valencia in 1985.
Lot 34
AGUSTÍN REDONDELA (Madrid, 1922-2015)."Por el camino", 1978.Oil on canvas.Signed and dated in the lower right corner.Size: 54 x 65 cm; 80 x 91,5 cm (frame).Agustín Redondela's continuous travels around the Spanish geography awoke in him a great interest for the landscape, which was the undisputed protagonist of his artistic production. Throughout his career his style evolved towards more synthetic compositional forms and a simplification in the use of colour, thus reducing the tonalities used. This work belongs to a period of transition of the artist, in which we can appreciate the landscape characteristics, as well as highlighting the beginning of a change from a chromatic range of ochre colours and warm tones of his first works to blues and violet tones with which he would end his career.A painter who was mainly self-taught and considered one of the most original Spanish landscape painters of the 20th century, Agustín González Alonso trained with his father, the painter and set designer José González "Redondela". After the Civil War he attended classes at the Madrid School of Arts and Crafts with the landscape painter José Ordoñez, and in 1945 he sent a painting to the National Exhibition of Fine Arts for the first time, signed with the pseudonym Redondela. That same year he held his first personal exhibition at the Estilo gallery in Madrid. It was at this time that he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Salón de los Once de la Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela won a grant from the Catherword Foundation in Philadelphia (1954), the National Painting Prize (1953) and the first medal at the National Exhibition (1957). Throughout his career he combined painting with stage design, working for plays by Jacinto Benavente, Joaquín Calvo Sotelo, Dodie Smith and Peter Ustinov, among others. He also did some work as an illustrator, including a luxurious edition of Cela's "Viaje a la Alcarria" in 1978. In 1996 the Real Academia de Bellas Artes de San Fernando awarded him the José González de la Peña prize, and two years later the Centro Cultural de la Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, the Camón Aznar Museum in Zaragoza, the museums of Buenos Aires, Caracas and Havana and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.
Lot 48
SANTIAGO RUSIÑOL (1861-1931)"Girona antiga", ca.1908.Oil on canvas.Signed in the lower right corner.Bibliography:-COLL, Isabel, "Rusiñol". Sabadell: Ausa, 1992 (repr. p. 376). LAPLANA, Josep de C., Santiago Rusiñol. El pintor, l'home. Barcelona: L'Abadia de Montserrat, 1995 (no. 14.9).-LAPLANA, Josep de C., The painting of Santiago Rusiñol. Obra completa. Catàleg sistemàtic. Barcelona: Mediterrània, 2004 (cat. no. 14.1.12, p. 118, repr.).Exhibitions:-1981 - "Pintors de Fama", Sala Parés, Barcelona (cat.núm.18: Girona antiga).-2021 - "Travellers", Sala Parés, Barcelona (cat. no. 18: Girona antiga).Size: 76,5 x 72,5 cm; 89 x 85 cm (frame).The city of Girona and the villages of the region made a deep impression on Santiago Rusiñol. He painted the city from various perspectives, giving priority to its gardens and side views of the cathedral, as in the magnificent painting shown here. The solemn stone architecture and the foliage that meanders between the parapets and grows in groves of pines and cypresses form an autumnal scene of deep emotion. The low evening light subtly toasts the leaves, unfurling wide shades of emerald green to sienna. The cathedral is silhouetted in the distance, culminating a scene. Rusiñol gave pre-eminence to the area of the city walls, or to the old quarter and the old houses on its perimeter. This type of painting was a brilliant correlate of the articles Rusiñol published as a writer (for example, in "Girona de piedra", 1912).A painter, writer and playwright in Catalan, 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 theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Ile Saint-Louis. On his return he exhibited the paintings he produced on this trip in what was to be his first one-man show at the Salle Parés. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.
Lot 62
ARCADIO MAS Y FONDEVILA (Barcelona, 1852-1934)"Interior scene".Watercolour on paper.Signed in the lower right corner.With a label on the back from the Dolors Junyent gallery, Barcelona.Measurements: 21 x 21 cm; 46 x 46 cm (frame).Painter and draughtsman, founder of the luminist school of Sitges, Arcadi Mas i Fondevila trained at the La Lonja School in Barcelona, where his teachers were Antonio Caba and Claudio Lorenzale. At the age of twenty he took part in his first group exhibition, organised in the hall of the Barcelona Artistic Association. In 1875 he won the first Fortuny scholarship from the Barcelona City Council, which enabled him to further his studies by travelling to Italy as a boarder between 1876 and 1886. During these years, Arcadi Mas i Fondevila visited Venice, Rome, Naples and Capri, while taking part in several group exhibitions at the Sala Parés in Barcelona. Ascribed to the Neapolitan naturalist school of Domenico Morelli, in 1885 he also took part in the exhibition of the Centre of Watercolourists in Barcelona. On his return to Catalonia, his friend Joan Roig Soler encouraged him to visit Sitges, and from this meeting and acquaintance the Sitges Luminist school was born, a pictorial current that brought together other artists such as Joaquim de Miró, Antoni Almirall and Joan Batlle. In 1887 he took part in the National Exhibition of Fine Arts in Madrid, and won a medal for his work "Corpus Christi Procession in Sitges". He also took part in the Universal Exhibition in Barcelona the following year, winning the first medal. In 1895 he travelled to Madrid again, this time accompanied by Santiago Rusiñol and Zuloaga, and later went to Granada with Rusiñol, Miguel Utrillo and Macari Oller, with the intention of illustrating some articles by Rusiñol for "La Vanguardia". Mas i Fondevila won two more medals at the Barcelona Fine Arts Exhibitions of 1894 and 1896, and in 1899 he became a member of the Círculo Artístico de Sant Lluc. In 1900 he opened the Rovira Salon in Barcelona with his first individual exhibition, a show that established him as a master of pastel painting. An example of the importance of this painter can be found in the fact that Picasso had copied a nude of his from 1895. At this time, moreover, Mas i Fondevila collaborated as a draughtsman in "La Ilustració Catalana". Thanks to a donation from the American patron Charles Deering, in 1913 he painted the tympanum of the portal of Santa Catalina in the church of San Bartolomé and Santa Tecla in Sitges. Today a copy can be admired "in situ", the original having been erased by the passage of time. In 1928 he was commissioned to paint one of the murals in the Sala de Sant Jordi in the Palace of the Generalitat in Barcelona, and in 1932 he again exhibited individually, this time in the La Pinacoteca room. On the occasion of the fiftieth anniversary of his death, the Sitges Study Group devoted an anthological exhibition to him at the Maricel Museum (1985). In his painting, Mas i Fondevila combined Catalan localism with his Neapolitan memories. He also painted portraits, with outstanding works such as those of Antonio Caba and Pitarra. He is represented in the Museu Nacional d'Art de Catalunya, the Maricel, the Cau Ferrat and Sitges Town Hall, as well as in other museums and private collections.
Lot 68
EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."In the garden".Oil on cardboard (fan country).Signed in the lower left corner.Measurements: 22 x 62 cm; 46 x 79 cm (frame).Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs Elysées for several years, with works of a literary and genre nature and some portraits. On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.
Lot 7
JOSÉ PUYET PADILLA (Málaga, 1922 - Madrid, 2004)."Oriental", 1974.Oil on canvas.Signed in the upper right corner. Signed, dated and titled on the back.Measurements: 101 x 81 cm; 120 x 101 cm (frame).The grandson of the famous master José Padilla, Puyet took a keen interest in painting from his childhood, initiating himself with his grandfather in the use of pencils and oil paints. When the Civil War broke out he was fourteen years old, and by then he was working as an apprentice in an English insurance company. At the age of twenty he was sent to Melilla to do his military service, and there his superiors soon realised his artistic potential. They began to relieve him of guard duty so that he could portray the relatives of senior officers in the barracks, a fact that strengthened Puyet's confidence in his brushes. On his return he went to Madrid, where he began his career as an occasional portrait painter, among other diverse jobs such as advertising illustration for important firms like Mirurgia and Gal. At the same time he was part of the decoration team of the Samuel Bronston studios, painting backgrounds for films with the most varied themes, from Roman countryside to the arid lands of the American West. During these years he also made himself known at various exhibitions in Madrid, including the group shows at the Círculo de Bellas Artes. It was there that he met the man who was to become his definitive driving force: Mr. Cano, the gallery owner who proposed his first individual exhibition. Since then, and given the success of the exhibition, he held more than forty exhibitions until the gallery closed. Simultaneously, Puyet exhibited his work in Barcelona, Valencia, San Francisco, New York, Montreal, Miami, Monterrey, Houston, Boston, Hamburg, Berlin, Munich and Milan, among other cities. In 1984 he became a member of the prestigious American publication "Who's who in Art". In December 1988 he was appointed member of the Royal Academy of Fine Arts of San Telmo in Malaga. Puyet is currently represented in important collections such as those of the Duchess of Alba, the Grimaldi family, Juan March, Plácido Domingo, etc.
Lot 76
GUSTAVE VIOLET (Thuir, 1873 - Perpignan, 1952)."Fruit pickers" 1920.Vase.In terracotta.Stamp on the base.Work catalogued in "Gustave Violet" pg 159.Measurements: 24 x 14 x 14 cm.French sculptor. Gustave Violet moved to Prades at the age of 30, where he opened his workshop. This was a period of high productivity in which he was inspired by the life of the Catalan peasant for the terracotta sculptures. He carried out several commissions, such as the bas-relief of the portal of the Collège Jean Moulin in Perpignan or the monument to the engineer Jules Lax, one of the architects of the Yellow Train. Sculptures: Monuments to the Dead of Prades, Thuir, Perpignan, Collioure, Estagel, Tautavel and Saint Laurent de Cerdans, Statue in homage to the construction of the Ceret irrigation canal. "To those who died for France in the First World War', Montjuic cemetery, Barcelona (1925).
Lot 79
EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."Portrait of a seated young woman".Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 116 x 90 cm; 131 x 104 cm (frame).Oil on canvas, in which the artist has captured the portrait of a seated girl. This type of images starring young ladies were very common during the 19th century, as they allowed the recreation of values such as delicacy and sumptuousness, as can be seen in this case in the treatment of the white dress of the protagonist. The author proposes an intimate image featuring a young woman who has stopped reading and whose gesture seems to recreate the words she has read, reminiscent in a certain way of the idea also put forward in Madame Bovary, on the influence of literature on young women.Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs-Elysées for several years, with works of a literary and genre nature and some portraits. From 1890 he moved away from history painting, which was in great demand in Spain but little appreciated in France, and devoted himself to genre painting, landscape and illustration in publications such as "Blanco y Negro" and "La Ilustración Española y Americana". On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. Among his disciples were María Blanchard and Cecilio Pla, and he published "La gramática del colour", a work that was used as a textbook in the Fine Arts Schools of Madrid and Barcelona. In the capital Sala opened his own studio and took part in the decoration of the Palaces of Anglada and Mazarredo. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.
Lot 80
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture in polished brass. Copy 347/2000.Provenance: Private Collection of Luis García Berlanga.Slight scratches.Signed and numbered on the base.Measurements: 28 x 21 x 20 cm.Detachable sculpture in polished brass representing a male torso, emphasising the volume of the shoulders, in allusion to the title of the work, "Torero". Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of the 1900s, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennale, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 81
LUIS DE MADRAZO Y KUNTZ (Madrid, 1825 - 1897)."Portrait of a Lady with a Cat.Oil on canvas. Re-coloured.With restorations.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 81 x 54 cm; 100 x 72 cm (frame).Like the rest of his family, Luis de Madrazo cultivated the portrait. The quality of the master responsible for the painting is clear: first, for the economy of means, which keeps the spectator's attention focused on the lady (something to which the neutral background of the painting and the tonal play between the dress and the pale skin of the lady also contribute); second, for the quality of the drawing used, above all, in the face (drawing which predominates over the colour and the brushstroke, as it was usual in the art of the 19th century derived from the Neoclassicism of the Fine Arts Academies).The son of José de Madrazo and brother of Federico and Pedro, Luis de Madrazo enjoyed great prestige during his lifetime, first as a teacher (professor of Old and Ropajes Drawing) and later as director of the Madrid School of Painting, Sculpture and Engraving, and was recognised with honours such as the appointment of Commander of the Order of Isabella the Catholic, as well as a full member of the San Fernando Royal Academy of Fine Arts. He was a cultivator of religious and historical themes, although he was particularly praised as a portraitist. He began his training with his father and later furthered it at the San Fernando School in Madrid. As early as 1845 he was already working as an illustrator for "El Semanario Pintoresco". Later he also worked as a draughtsman for the "Semanario Pintoresco Español". In 1848 he went to Rome to further his artistic studies at the National Academy of St. Luke and the French Academy of the Villa Medici. In Rome he came into contact with Friedrich Overbeck through Antonio Solá. He received a powerful Nazarene influence from the German Romantic painter, which can be seen in his work from then on. Later he travelled to Paris, Venice, Munich and Berlin before returning to Italy in the 1890s, settling in Pompeii with the painters Bernardino Montañés and Francisco Sáinz. He finally returned to Spain to begin his teaching career in San Fernando and was introduced into the artistic circles of Madrid by his father and brother Federico. He worked with the latter at the Prado Museum. As a painter, Luis de Madrazo devoted himself almost exclusively to portraiture, working for official bodies and also for the nobility. He made his work, characterised by the purity of lines and the sharpness of colour and light typical of the strictest Nazarene aesthetic, known through various competitions and official exhibitions held both in Spain and abroad. In 1855 he was a major success at the Universal Exhibition in Paris, and the following year he won the first medal at the National Fine Arts Exhibition in Madrid for his work "Pelayo en Covadonga" ("Pelayo in Covadonga"). He was also awarded a silver medal at the Franco-Spanish Exhibition of 1864. Luis de Madrazo is currently represented in the Prado Museum, the Royal Academy of History in Madrid, the Lázaro Galdiano Museum in the same city and other important public and private collections.
Lot 85
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a young man.Oil on canvas. Re-coloured.It has craquelure on the pictorial surface.Provenance: Private Collection of Luis García Berlanga.Signed in the lower left area.Measurements: 46 x 36 cm; 64 x 54,5 cm (frame).Portrait of a lady which seems to have been conceived as a sketch or study, as the author only presents the face of the young woman in a detailed way, while the bust area is slightly intuited through several touches of colour which make up the volume. The work follows the precepts established by the portrait genre throughout the history of art: the neutral background that monumentalises the figure, and the position in the foreground, avoiding strict frontality.Palmaroli was a vigorous portraitist who knew how to delve into the psychology of the sitter and recreate the minute details of the clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetics of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Accademia di Roma. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
Lot 87
JOAN GARCÍA RIPOLLÉS, (Castellón, 1932)."Initiation to the observer", 1981.Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed and dated in the lower left corner. Titled on the back.Measurements: 60 x 46 cm; 63,5 x 48,5 cm (frame).In this work Ripollés resorts to one of the most explored themes in the history of art, that of the bathers. Picasso's influence is evident in the work, both aesthetically and thematically, as the figure of the protagonist can be seen lying down like a Venus, who is contemplated by the figure of a man who is relegated to the right-hand corner of the composition and whose presence is barely noticeable. Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the midst of the post-war period, he began to work in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 88
JOAN GARCÍA RIPOLLÉS, (Castellón, 1932)."Woman", 1971.Mixed media on canvas.Presents the stamp of the Porcar Gallery (Castellón).Provenance: Luis de García Berlanga Private Collection.Signed and dated in the upper left corner.Measurements: 12 x 22 cm; 13,5 x 20 cm (frame).At the beginning of the 70's, Ripollés created this type of paintings with female protagonists much more stylised and with a symbolist character, as can be seen in his painting "Menina 2" from the year 70, where a similar aesthetic treatment to the one in the present work can be appreciated. Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he began to work in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 89
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)."Misa de música", 1969.Silkscreen on paper. Copy 1/30 P.A.Provenance: Private Collection of Luis García Berlanga.Signed, justified and located (New York).Measurements: 44 x 58 cm; 52,5 x 65,5 cm; 60 x 73 cm (frame).Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 95
CARLOS GARCÍA MUELA (Tetuán, Marruecos, 1936 – Madrid, 2013)."Torso".Bronze.It has a scratch on the shoulder.Provenance: Private Collection of Luis García Berlanga.Measurements: 28 x 16,5 x 17 cm.Spanish sculptor born in Tetouan, Carlos García Muela studied at the School of Fine Arts in his hometown, and began his work working with sandstone, making works of a sober and rough character. Later he would change sandstone for iron and bronze, evolving towards a more expressionist language. Already in the 1970s he began a classicist series, “Torsos”, a theme that would be constant in his career ever since, always with volumes that were both organic and archaeological in inspiration. At first, Muela achieved his personal expressiveness through a complex technique, based on the rupture and stratification that the sculptor achieved by distributing layers of wax that broke at the time of casting, creating irregular effects that evoke the passage of time. on the metal. Later the artist left this technique behind to focus on the contrast between classicism and confrontation of materials. Muela has numerous works exhibited in public spaces, such as the “Ares Torso” at the Ciudad Real AVE station or the “Female Torso” at the Ceuta Open-Air Sculpture Museum. Likewise, throughout his career he was distinguished with numerous awards, among which the first prizes of the International Biennial of Sport in the Fine Arts of Barcelona (1979) and the International Biennial of Alexandria (1982) stand out. It is currently represented in the Open Air Sculpture Museum of Alcalá de Henares, among other collections.
Lot 97
MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Mini David", c.1960.Nickel-plated bronze and bronze bath on the genitals. Serial No. 6521.Provenance: Private Collection of Luis García Berlanga.Signed on the right arm.Measurements: 13,7 x 5 cm.Round sculpture made up of numerous pieces in nickel-plated bronze, which are joined together creating a piece of figurative aesthetics, where the artist has grouped a set of angular shapes. The piece represents a male torso whose title refers to the biblical character David, who defeated the giant Goliath. In addition to being a shepherd, David could play the harp. So he went to serve King Saul, who at that time was fighting against the Philistines. There he confronted the giant Goliath, whom he killed with a stone thrown from his sling. The stone hit him in the forehead and Goliath fell to the ground. With the giant's sword, David cut off his head.Berrocal began his training at the School of Arts and Crafts in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.
Lot 99
ANTONIO MINGOTE (Sitges, 1919-Madrid, 2012)."Berlanga and Azcona".Gouache and ink on paper.Provenance: Private Collection of Luis García Berlanga.Signed and dedicated to Luis Berlanga and Rafael Azcona.Size: 17,5 x 26 cm; 20 x 29,5 cm (frame).In this work Mingote pays homage with his particular style to the figures of Rafael Azcona (Logroño, 1926-Madrid, 2008) and Luis García Berlanga (Valencia, 1921-Pozuelo de Alarcón, 2010). Mingote places the two figures in a large space dominated by blue brushstrokes that simulate the sky, in which he intersperses the text "What's going on down there, Luis? The usual, Rafael: crying and laughing, crying and laughing. Let's see if the cinema continues to make the most of it". These words indicate that the drawing was probably made after Azcona's death in 2008, as well as showing a critique that reflects on the future of cinema. The image is completed by the presence of a character holding a shotgun, while a bird perches on his hat, an allusion to the famous film "La escopeta nacional", on which Berlanga and Azcona worked together. The relationship between the two, scriptwriter and filmmaker, was consolidated over the course of seven films, including the aforementioned film and such essential titles in Spanish cinema as "El verdugo", "Placido" and "La vaquilla".Antonio Mingote was one of the most outstanding Spanish satirical cartoonists of the second half of the 20th century, as well as a writer, language scholar and journalist. Initially self-taught, he was a disciple of Ángel Novella and studied philosophy and literature at the University of Zaragoza. He began his career as a cartoonist in the magazine "La Codorniz" in 1946, two years later he published his first novel, and in 1953 he began a collaboration with the newspaper "ABC" which lasted until his death. In 1987 he was appointed a member of the Spanish Royal Academy, and in 1996 he received the Gold Medal for Merit in Work, although he received countless other important awards throughout his career.
Lot 315
TWO DAHL-JENSEN POTTERY FIGURES,the first a full female figure, no. 1117, 25.7cm high, the second a bust, no. 1211, together with a vase decorated with windmills by Bing & Grondahl, 24.4cm high (3)Each piece appears without damages. The two DJ figures have scores through the backstamps, possibly to note seconds quality.
Lot 346
THE HORSE; ITS TREATMENT IN HEALTH & DISEASE, WORTLEY AXE (PROF. J., ed.),pub. The Gresham Pub. Co., London 1906, in Art Nouveau gilt tooled cloth boards (in 9 vols.)This is a first edition set. The condition is good to fair. Areas of wear, fraying and discolour to binding, as well as some foxing to the pages. Additional images now available.
Lot 391
VERSACE (GIANNI), VANITAS DESIGNS, SIGNED FIRST EDITIONautographed to first blank page in gold pen, in original dust jacket, pub. Abbeville Press, New York, London and ParisCondition good to fair. Light wear to inside front and back pages. Slight yellowing and a scratch to the dust jacket. Additional images now available.Signed by the author.
Lot 478
EDWARD BAWDEN CBE RA (BRITISH, 1903-1989),WESTMINSTER ABBEY, THE ALBERT MEMORIAL,two monochrome studies, both with monogram and further annotations verso, the first 27.5cm x 35.2cm, the second 21.7cm x 28.1cmAdditional images uploaded,Both likely lithograph or some other original printed medium.
Lot 513
STARBAY ROSEWOOD PAIR OF CAMPAIGN STYLE BEDSIDE CABINETS,with brass fittings, 49cm high, 45cm wide, 38cm deepCondition good to fair. Both with light paint residue. The top drawers sit quite awkwardly in the hole, image to illustrate. The first with a scratch to the back. many further images now available.
![Alexandre, (Aaron) [Rabbi]. The beauties of chess. A collection of the finest chess problems extant; including upwards of two](https://cdn.globalauctionplatform.com/d58a04d0-0c53-4d05-a696-af2b00a5737f/e23cb9bc-7ee4-4880-8a34-af2b00b13479/468x382.jpg)
Lot 546
Alexandre, (Aaron) [Rabbi]. The beauties of chess. A collection of the finest chess problems extant; including upwards of two thousand curious positions won or drawn by brilliant "coups," selected from the works of the first chess - writers past and present. London, Barthès und Lowell, 1846. Gr.-8°. Mit 1 Titelvignette u. vielen Diagrammen. VIII, 344, 68 Seiten (Solutions). Neuer rotbrauner Lederband mit goldgeprägtem Titeldruck auf Rücken. (81)* Chicco / Porreca S. 12; van der Linde II, 97; Kieler Schachkat. 6587; Schmid S. 99 ff. Aus der Schachbuchsammlung Lothar Schmid. Eingebunden ist ein eigenhändig von A. Alexandre an Tavistock geschriebener Brief in englischer Sprache mit eigenhändiger Unterschrift. Nicht datiert, einseitig beschriebenes Blatt. Blattgröße 12 x 20 cm. In dem Brief äußert Alexandre seinen Dank für die Bemühungen von Tavistock bei der Durchsicht des Werkes. Er lenkt die Aufmerksamkeit auf spezielle Probleme der „Beauties of Chess“ und hofft, dass Tavisstock auch in Zukunft weitere Kommentare verfasst. Aaron Alexandre war deutscher Schachspieler (Hohenfeld 1765 - 1850) und verbrachte einen großen Teil seines Lebens in Frankreich und England. In Paris eröffnete er u. a. ein Hotel mit Kaffee (1795), das er aber 1836 wieder schließen musste. Er verfasste zwei bedeutende Werke: Encyclopédie des échecs... (Paris 1837) und das hier vorliegende. Es war das Ergebnis von Alexandres Sammlung von Endspielstellungen, das als Vervollständigung der "Encyclopédie ..." gedacht war. Enthalten sind mehrzügige Probleme auf 2120 Diagrammen, 4 Pferdesprünge, 2 Partien nach van Nyeveld und van de Hoeven sowie 4 Parties des pions. Die vorliegende Ausgabe hat das Titelblatt und die Vorrede in englischer Sprache. Zustand des Briefblattes: Das Blatt ist mehrfach gefaltet gewesen und etwas gebräunt. Zustand des Buches: Name auf Vorsatz. Titelblatt mit Widmung „The Rev. Charles Hoyle a token of regard from“, der Name wurde leider beim Binden abgeschnitten. Innen gebräunt, etwas fleckig, teilweise stärker und mit einigen Notizen von alter Hand. Der Einband ist gering bestoßen, am Rücken und den Rändern etwas verblichen. Seltene und gesuchte Ausgabe.
Lot 1229
New York 1857. Fiske, D. W. The Book of the First American Chess Congress. Containing the Proceedings of that celebrated Assemblage, held in New York ... 1857. Nachdruck der Ausgabe New York 1859. Zürich, Olms, 1985. 8°. Mit 1 Titelabb. und vielen Diagrammen. 563 Seiten. Orig. Kunstlederband mit Schutzumschlag. (95)* "Tschaturanga ...", Band 60. Sieger wurde Morphy. Beiliegt: New York 1889. Steinitz, W. The Book of the Sixth American Chess Congress. Containing the Games of the International Chess Tournament held at New York in 1889 ... Nachdruck der Ausgabe 1891. Zürich, Olms, 1982. 8°. Mit Diagrammen. 12 Bll., XXXVIII, 490 S., 1 Bl. Transcriptionsblatt liegt bei. Orig. Kunstlederband mit Schutzumschlag. "Tschaturanga ...", Band 29. Vergl. Linde - N. 5232.
Lot 1042
Fiske. White, Horatio S. Willard Fiske. Life and correspondence. A biographical study. New York, London u. a., Oxford University Press, 1925. 8°. Mit 1 Porträt und 53 Abbildungstafeln. XVIII, 485 Seiten. Originaler Leinenband mit goldgeprägtem Titeldruck auf Rücken. (74)* Linde - N. 3067; Betts 43 - 28: "A biography of Fiske based chiefly on his own writings and correspondence ... chapter 3 of his 'early period' (1831 - 1868) being concerned with his connection with chess as organizer (First American Congress), periodical editor (The Chess Monthly), author ... and player." Daniel Willard Fiske (1831 - 1904) war Bibliothekar, Gelehrter und als Schachschriftsteller und -organisator tätig. Zustand: Exlibris auf Innendeckel. Druck auf etwas getöntem Papier. Einband teilweise etwas verblichen und gering bestoßen.
Lot 421
Europa. Türkei. Schachspiel aus Metall. Moderne Figuren im osmanischen Stil in einer Transportbox. Die eine Partei ist leicht angedunkelt, die andere ist heller. Produktion aus der ersten Hälfte des 20. Jahrhunderts. Höhe König 6,2 cm; Bauer 3,5 cm. Transportbox 30 x 30 x 6 cm. (20) * Komplettes Metallschachspiel. Zustand: Mit Benutzungs- und Alterungsspuren (Oxidation). Etwas angestaubt. Die Transportbox ist berieben und bestoßen, das Innenfutter ist stark defekt. / Europe. Turkey. Metal chess set. Modern chess set in Ottoman style in a transport box. One side slightly darkened, the other is lighter. Produced in the first part of the 20th century. King 6,2 cm high; pawn 3,5 cm. Measurement of the transport box 30 x 30 x 6 cm. Complete metal chess set. The figures have minor chips and damages. The transport box is slightly damaged and bumped, the inner lining is damaged.
Lot 1061
Murray, Harald J. R. A history of chess. Reprinted lithographically in Great Britain … Oxford, by Vivian Ridler ... from corrected sheets of the first edition. Oxford, Clarendon Press, 1969. 8°. Mit vielen Abbildungen im Text und auf 19 Tafeln sowie Diagrammen. 900 Seiten. Orig. Leinenband mit Schutzumschlag. (95)* Vergl. Betts 5 - 11. 1913 erstmalig erschienen und schon damals hochgelobt. Der englische Schulrat und Mathematiklehrer Harald J. R. Murray (1868 - 1955) war Schachhistoriker. Die vorliegende Ausgabe gilt auch heute noch als Standardwerk der Schachgeschichtsforschung, obwohl einige seiner Thesen kritisiert wurden und es inzwischen neue Erkenntnisse gibt.
Lot 1024
Bennecke, Hermann. Selection of Problems entered in the First International Problem Tournament of „Bahn Frei!“ Dedicated to the judge of the tourney W. A. Shinkman … New York 1891. 12°. Mit 71 Diagrammen. 87 Seiten. Originaler Leinenband mit verblasstem goldgeprägten Titeldruck auf Vorderdeckel und Rücken. (81)* Linde – N. 2510; Betts 32 - 19. Doublette aus der Schachbuchsammlung Lothar Schmid. Kleinformatige Ausgabe mit 71 Problemen aus dem ersten Problemturnier des Vereinsorgan „Bahn Frei!“ vom New Yorker Turn – Verein. Zustand: Druck auf getöntem Papier. Innen mit wenigen handschriftlichen Notizen. Einband berieben und wenig bestoßen. Seltene Ausgabe.
Lot 1043
Greco. White, John G. Greco and his Manuscripts. Gioachimo Greco, 1600 - 1634. 300th Anniversary of the Writing of the First Manuscript 1619 - 1919. Philadelphia, Good Companion Chess Problem Club, 1919. 12°. Mit 21 ganzseitigen Abbildungen. 47 Seiten. Original - geheftet. (81)* Linde - N. 3073; Betts 1 - 34. Doublette aus der Schachbuchsammlung Lothar Schmid. Die Ausgabe enthält eine kurze Beschreibung von 24 Manuskripten. Zustand: Druck auf getöntem Papier. Umschlag angestaubt und mit Defekten.
Lot 408
Asien. China. Chinesisches Schach - 16 Spielsteine aus Bein und 2 Extrasteine aus Glas (?). China, erste Hälfe des 20. Jhrdts. Durchmesser der Spielsteine aus Bein 2,0 cm. (20)* Vergl. unsere Photos im Internet. Zustand: Mit altersbedingten Schab- und Kratzspuren (bzw. Gebrauchsspuren). Einige Spielsteine sind geklebt. / Asia. China. Chinese chess set - 16 bone pieces and 2 extra pieces made of glass (?). China, first half of the 20th century. Diameter of the bone pieces 2.0 cm. See our photos on the internet. With minor chips and damages or scratches (or signs of wear). Some game pieces are glued.
Lot 1214
London 1883. Games played in the London International Chess Tournament 1883. Edited by J. I. Minchin. First Edition. London, Wade, (1884). Gr. - 8°. 2 Bll., LVI, 371 Seiten. Roter Leinenband mit goldverziertem Vorderdeckel (Rücken defekt und ausgeblichen). (20)* Linde - N. 5216; Betts 25 - 16 with detailed description. Bei diesem Turnier siegte "in glänzender Weise" Zukertort vor Steinitz, Blackburne und Tschigorin. Mit 182 kommentierten Partien und am Ende 53 Partien des "Vizayanagaram Tournament". (Sieger: Bardeleben) Zustand: Buchblock gelockert. Innen gebräunt und etwas fleckig mit wenigen handschriftlichen Anmerkungen und Notizen. Wenige Seiten mit Defekten. Einband stark berieben und bestoßen, Rücken defekt und ausgeblichen. Seltene Ausgabe.
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