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Chaucer Auctions
Lot 225

Jill St John signed 10x8 colour photo. Jill St. John (born Jill Arlyn Oppenheim; August 19, 1940) is an American former actress. She may be best known for playing Tiffany Case, the first American Bond girl of the 007 franchise, in Diamonds Are Forever. Additional performances in film include Holiday for Lovers, The Lost World, Tender Is the Night, Come Blow Your Horn, for which she received a Golden Globe nomination, Who's Minding the Store?, Honeymoon Hotel, The Liquidator, The Oscar, Tony Rome, Sitting Target and The Concrete Jungle. Good condition Est.

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Chaucer Auctions
Lot 231

Bernard Lee signed 5x3 album page. John Bernard Lee (10 January 1908 - 16 January 1981), known as Bernard Lee, was an English actor, best known for his role as M in the first eleven Eon-produced James Bond films. Lee's film career spanned the years 1934 to 1979, though he had appeared on stage from the age of six. He was trained at the Royal Academy of Dramatic Art in London. Lee appeared in over one hundred films, as well as on stage and in television dramatizations. He was known for his roles as authority figures, often playing military characters or policemen in films such as The Third Man, The Blue Lamp, The Battle of the River Plate, and Whistle Down the Wind. He died of stomach cancer in 1981, aged 73. Good condition Est.

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Chaucer Auctions
Lot 25

Tony Hancock signed 11x8 magazine black and white photo. Anthony John Hancock (12 May 1924 - 25 June 1968) was an English comedian and actor. High-profile during the 1950s and early 1960s, he had a major success with his BBC series Hancock's Half Hour, first broadcast on radio from 1954, then on television from 1956, in which he soon formed a strong professional and personal bond with comic actor Sid James. Although Hancock's decision to cease working with James, when it became known in early 1960, disappointed many at the time, his last BBC series in 1961 contains some of his best-remembered work (including The Blood Donor and The Radio Ham). After breaking with his scriptwriters Ray Galton and Alan Simpson later that year, his career declined. Good condition Est.

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Chaucer Auctions
Lot 259

Kate Bush signed 10x8 black and white promo photo dedicated. Catherine Bush CBE (born 30 July 1958) is an English singer, songwriter, pianist and record producer. In 1978, aged 19, she topped the UK Singles Chart for four weeks with her debut single Wuthering Heights, becoming the first female artist to achieve a UK number one with a self-written song. Bush has since released 25 UK Top 40 singles, including the Top 10 hits. Good condition Est.

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Chaucer Auctions
Lot 266

Concorde Barbara Harmer signed Concorde FDI PM 3 Mar 1969 Filton Bristol. Barbara Harmer (14 September 1953 - 20 February 2011) was the first qualified female Concorde pilot. Good condition Est.

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Chaucer Auctions
Lot 269

Bill Edrich and Dennis Compton signed 50TH Anniversary of first flight of the Bristol Britain First 12 April 1985 FDC Jersey 12 Apr 85. Good condition Est.

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Chaucer Auctions
Lot 274

David Suchet and Hugh Fraser signed Celebrating Agatha Christie FDC double PM 100TH Anniversary First Murder Mystery, Agatha Christie Torquay 15. 09. 2016. Good condition Est.

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Chaucer Auctions
Lot 340

Lech Walesa signed 10x8 colour photo. Lech Walesa (born 29 September 1943) is a Polish statesman, dissident, and Nobel Peace Prize laureate, who served as the President of Poland between 1990 and 1995. After winning the 1990 election, Walesa became the first democratically elected President of Poland since 1926 and the first-ever Polish President elected in popular vote. A shipyard electrician by trade, Walesa became the leader of the Solidarity movement, and led a successful pro-democratic effort which in 1989 ended the Communist rule in Poland and ushered in the end of the Cold War. Good condition Est.

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Chaucer Auctions
Lot 378

Football Autographed Tottenham 20 X 16 Limited Edition - A Superbly Produced Limited Edition Print, No. 2 Of 75 Issued, Measuring 20 X 16 It Depicts Players Parading The Fa Cup And The First Division Trophy Through The Streets Of North London From An Open Top Bus, After Their Record Breaking 1960/61 Season, Signed To The Lower Border By Mackay, Smith, Baker, Norman, Allen, Dyson And Jones. Good Condition Est.

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Chaucer Auctions
Lot 43

Pete Postlethwaite signed 7x5 black and white photo. Peter William Postlethwaite, OBE (7 February 1946 - 2 January 2011) was an English character actor. After minor television appearances, including in The Professionals, his first major success arose through the British autobiographical film Distant Voices, Still Lives (1988). He had a transatlantic breakthrough when he portrayed David in Alien 3 (1992), and his international reputation was further solidified when he was nominated for the Academy Award for Best Supporting Actor for In the Name of the Father (film). Following this role, he portrayed the mysterious lawyer Mr. Kobayashi in The Usual Suspects, and went on to appear in a wide variety of films. Good condition Est.

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Chaucer Auctions
Lot 51

Ralph Fiennes signed Lord Voldemort Harry Potter 10x8 colour photo. Ralph Nathaniel Twistleton-Wykeham-Fiennes born 22 December 1962) is an English actor, film producer and director. A Shakespeare interpreter, he first achieved success onstage at the Royal National Theatre. He made his film debut playing Heathcliff in Emily Brontë's Wuthering Heights (1992). Good condition Est.

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Chaucer Auctions
Lot 52

Katie Leung signed Cho Chang Harry Potter 10x8 colour photo. Katie Liu Leung (born 8 August 1987) is a Scottish actress. She played Cho Chang, the first love interest for lead character Harry Potter in the Harry Potter film series. In 2012, Leung made her stage debut in the play Wild Swans, and has since appeared in many other stage productions. She is also known for providing the voice of Caitlyn in the animated series Arcane. Good condition Est.

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Chaucer Auctions
Lot 66

Bing Crosby signed 5x4 album page dated 29. 7. 61. Harry Lillis Crosby Jr. (May 3, 1903 - October 14, 1977), known professionally as Bing Crosby, was an American singer and actor. The first multimedia star, he was one of the most popular and influential musical artists of the 20th century worldwide. He was a leader in record sales, radio ratings, and motion picture grosses from 1926 to 1977. He made over 70 feature films and recorded more than 1, 600 songs. Good condition Est.

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Chaucer Auctions
Lot 76

Edmund Hillary signed 5x3 white album page card. Sir Edmund Percival Hillary KG ONZ KBE (20 July 1919 - 11 January 2008) was a New Zealand mountaineer, explorer, and philanthropist. On 29 May 1953, Hillary and Sherpa mountaineer Tenzing Norgay became the first climbers confirmed to have reached the summit of Mount Everest. They were part of the ninth British expedition to Everest, led by John Hunt. From 1985 to 1988 he served as New Zealand's High Commissioner to India and Bangladesh and concurrently as Ambassador to Nepal. Good condition Est.

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Chaucer Auctions
Lot 9

The Jam multisigned 12x8 colour photo signatures include Paul Weller, Bruce Foxton and Rick Buckler. The Jam were an English mod revival/punk rock band during the 1970s and early 1980s, which formed in 1972 at Sheerwater Secondary School in Woking, in the county of Surrey. The band released 18 consecutive Top 40 singles in the United Kingdom, from their debut in 1977 to their break-up in December 1982, including four number one hits. As of 2007, That's Entertainment and Just Who Is the 5 O'clock Hero? remain the best-selling import singles of all time in the UK. They released one live album and six studio albums, the last of which, The Gift, hit number one on the UK Albums Chart. When the group disbanded in 1982, their first 15 singles were re-released and all placed within the top 100. Good condition Est.

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Chaucer Auctions
Lot 94

Emeli Sande signed 7x6 white card and a superb 10x8 colour photo. Adele Emily Sande, MBE (born 10 March 1987), known professionally as Emeli Sande, is a Scottish singer and songwriter. Born in Sunderland, Tyne and Wear, and raised in Alford, Aberdeenshire, Scotland, by an English mother and Zambian father, Sande rose to prominence after being a featured artist on the 2009 Chipmunk track Diamond Rings. It was their first top 10 single on the UK Singles Chart. In 2010, she was featured on Never Be Your Woman by the rapper Wiley, which was another top ten hit. In 2012, she received the Brit Awards' Critics' Choice Award. Good condition Est.

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Tate Ward
Lot 153

Stik (British 1979-), 'Stik Doodle (Organizing For Creative People)', 2017, signed first edition copy of the book 'Organizing for Creative People, signed by Sheila Chandra and Stik, ink doodle drawing by Stik; image: 3 x 1.5cm; book: 21.5 x 15cm ARR

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Ewbank's
Lot 1000

Vintage Yu-Gi-Oh! Collection LOB-EEN. This lot contains a folder full of Yugioh Ultimate, Secret, Ultra and Super rare Yu-Gi-Oh! cards from the very first set, Legend of the Blue-Eyes White Dragon all the way to Elemental Energy. Containing a mixture of 1st Edition and Unlimited cards it features fan favorites such as Exodia the Forbidden One, Gate guardian, Obelisk the Tormentor, Gaia the Fierce Knight and many more. This collection features over 70 cards and is a mixture of American and European printCondition Report: Various conditions ranging from Near Mint to Played.

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Ewbank's
Lot 1053A

Pokemon TCG. Base Set to Fossil Collection. Organised in the way of the original Pokedex this collection contains 1st Edition and unlimited cards from the Base Set, Jungle and Fossil expansions. Unfortunately a few holographic cards are missing from the Jungle and Fossil expansion meaning this is not a complete set of the first three sets but its only a handful of cards off and a great way to accumulate the first era of Pokemon cards. The 1st edition cards are mainly from the Fossil expansion and include a Holo Lapras and Moltres and multiple non-holo 1st editions. Unfortunately this item was stored in a garage and has suffered significant water damage to the first two pages. While many of the holos are warped due to storage they are still in Good condition. Condition Report: Unfortunately this item was stored in a garage and has suffered significant water damage to the first two pages. While many of the holos are warped due to storage they are still in Good condition.

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Ewbank's
Lot 1069

Pokemon TCG. Base Set & Jungle Complete Set. This lot contains complete sets of the first two Pokemon sets, Base Set and Jungle each released in 1999. Base Set includes 102 cards, all the holos, including the holo Charizard and Jungle includes all 64 cards including the non-holo rares. Item comes complete in an original folder.Condition Report: The overall condition of the Base Set is Near Mint to Good, a number of the Holos are in Near Mint to Good but are slightly warped due to where they've been stored. The overall condition of the complete Jungle set is in Near Mint condition.

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Ewbank's
Lot 1073

Pokemon TCG. Charizard Holo card number 4/102 from base Base Set (Unlimited). The iconic Charizard from the very first Pokemon trading card set from 1999. Condition Report: In Excellent- condition. There are hardly any scratches to the front surface with the only imperfections being the top back of the card

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Ewbank's
Lot 1074

Pokemon TCG. Machamp Holo 8/102 Base Set 1st Edition Sealed. This Machamp is still sealed in its original packaging straight from the very first two-player structure deck Condition Report: The card is in Near Mint condition.

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Setdart Subastas S.L
Lot 1

JOSÉ ROYO (Valencia, 1945)."Young woman embroidering".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 38 cm; 90,5 x 68 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 shaped 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 or 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.

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Setdart Subastas S.L
Lot 10

JULIA MINGUILLÓN (Lugo, 1907 - Madrid, 1965).Untitled.Oil on canvas.Signed in the lower left corner.Size: 70 x 50 cm; 84 x 63 cm (frame).Minguillón's work achieved great fame, being his scenes of infants the most popular ones. For this reason this piece stands out for the singularity of the subject matter in which two women can be seen; one fully dressed facing the viewer and the other with her back to the viewer naked. We only see the face of one of the protagonists, in such a way that the author suggests a game of identity that does not speak of specific characters, but rather alludes to women and their duality in post-war Spanish society, marked by strong masculine values.Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. This can be seen in this scene: a circus troupe resting in the middle of a wooded landscape. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. This painter also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.

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Setdart Subastas S.L
Lot 11

JULIA MINGUILLÓN IGLESIAS (Lugo, 1907 - Madrid, 1965)."Children at school".Oil on canvas.Presents restorations.Signed in the right inferior zone.Measurements: 60 x 51 cm.Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. This painter also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.

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Setdart Subastas S.L
Lot 13

JOAQUÍN PEINADO (Ronda, Malaga, 1898 - Paris, 1975)."Composition with a Pipe", 1943.Oil on canvas.With the label of the Carmen Aranguren Gallery (Seville) on the back.Signed and dated in the upper right corner.Measurements: 22 x 35 cm; 25 x 38 cm (frame).The instability and unrest caused by the Second World War distanced Peinado from easel painting, and he focused on making drawings which he sent to different publishers and which helped him to survive. For this reason this work is of great importance, as it marks the moment when Peinado returned to painting, with a less avant-garde conception, assimilating a "return to order" aesthetic, which was common to many painters due to the political situation of the time. During that period he focused particularly on still lifes, as can be seen in this painting, which has a post-Cubist aesthetic.Joaquín Ruiz-Peinado Vallejo was a Cubist painter, successor of Cézanne and spiritual son of Picasso, and one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918 and in the following years became a pupil of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he had finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies and at the same time became interested in Cubist painting, an aesthetic he would personalise and maintain in his works. In 1924 he also showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of Spanish artistic life, taking part in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. In 1926 he also won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he took part in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures by Spanish Residents in Paris, at the Botanical Gardens in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He was also involved in the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, and as a set designer and draughtsman for Feyder's "Carmen" (1925). In 1926 he also took part in the performance of Falla's "El retablo de Maese Pedro" in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. In time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would become director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. In 1946 he was also one of the organisers of the exhibition "Arte de la España Republicana. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date onwards his international exhibitions were frequent, both individual and collective, and he was grouped together with the best French art of the time. However, it was not until 1969 that a retrospective of his work was held in Spain; organised by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was made a member of the Royal Academy of San Telmo in Malaga. His work is currently widely represented in the museum that bears his name in Ronda.

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Setdart Subastas S.L
Lot 19

ELMYR DE HORY (Budapest, 1906 - Ibiza, 1976)."In the manner of Van Dongen".Oil on canvas.Signed in the upper left corner.Very good state of conservation.Measurements: 61 x 50 cm.Elmyr de Hory, born Elémer Albert Hoffmann, was a famous Hungarian painter and forger, author of more than a thousand false works and protagonist of the book "Fake", by Clifford Irving. He also appeared in Orson Welles' documentary "F for Fake" (1974). More than a forger, De Hory was a master at imitating the styles of famous painters. In fact, he painted the pictures but did not sign them, his dealer being the one who imitated the signatures of the masters. He would begin to sign his own name when his fame as a forger was already a valuable asset. His biography is confusing, as he falsified it himself, adding fantastic details such as his supposed aristocratic origins. He trained at the Heinmann Academy in Munich and in 1926 moved to Paris, where he entered the Académie de la Grande Chaumière, where his teacher was Fernand Léger. He subsequently returned to his native Hungary, where he ended up in prison for political reasons. Released during the Second World War, he was imprisoned again within a year. He managed to escape and return to Paris, where he discovered his ability to imitate the style of notable artists. He then began to sell reproductions of Picasso as originals, and soon began to create original work in the style of various authors, rather than reproducing existing works. In 1946 De Hory travelled with a dealer to South America, selling his fake works, and then settled in the United States, first between Los Angeles and New York and later in Miami. During these years he tried to make a living with his own original work, but found no market for it and was forced to concentrate on the fake pieces. In 1959 he returned to Paris and resumed his association with Fernand Legros, a dealer with whom he had already worked in America. In 1962 he moved permanently to Ibiza, from where he continued to send his works to Legros in exchange for a monthly salary. Some dealers and experts then began to detect his forgeries, which led to an investigation by Interpol. Eventually his dealers, Legros and Lessard, were imprisoned for fraud, while De Hory was on the run in Australia. Finally, tired, he returned to Spain, where he was convicted in 1968. However, he was never charged with forgery, mainly for lack of evidence.

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Setdart Subastas S.L
Lot 26

VENANCIO VALLMITJANA BARBANY (Barcelona, 1826/28 - 1919)."Maternity".Terracotta.Signed on the lower right front part of the base.Measurements: 55 cm high.Brother of the sculptor Agapito Vallmitjana, he began his training with him at the School of Fine Arts of La Lonja in Barcelona, where they were disciples of Damià Campeny. Venancio was awarded the school prize in 1844. Between 1853 and 1854, together with his brother, he made the statues of the Evangelists for the altar of the church of San Justo in Barcelona, which was to be his first major commission. In 1856 Venancio was appointed professor at the La Lonja School, and two years later he was commissioned to create the allegorical figures for the façade of the Bank of Barcelona, a work which until then, for reasons of prestige, had been left to Italian sculptors. His teaching work is particularly noteworthy, as he was the teacher of outstanding sculptors such as Pablo Gargallo. Queen Isabella II visited the brothers' workshop in 1861 and commissioned a portrait of him and a Saint George. Venancio took part alone in the National Exhibition of Fine Arts in Madrid in 1864, and with his brother in the editions of 1867 and 1876. In 1890 he again took part alone and won a first medal. They both travelled to Manchester in 1872 to portray Lord Stanley and his wife, and Venancio later travelled alone to Paris, where his work aroused the interest of the French public. The Vallmitjana brothers were among the best representatives of Catalan sculpture of their time, and their work was characterised by Romantic reminiscences and a marked realist detail. They also stood out for the great naturalism of their work. Agapito favoured a restrained pathos, while Venancio, undoubtedly more brilliant, was characterised by greater spectacularity and a taste for anecdotes. Venancio was the only one of the two who worked with glazed ceramics applied to sculpture. Venancio Vallmitjana is represented in the Lázaro Galdiano Museum, the Army Museum in Madrid, the Gaudí House Museum, as well as public works in Barcelona, Madrid and Valencia.

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Setdart Subastas S.L
Lot 32

FRANCISCO HERNÁNDEZ MONJÓ (Mahón, Menorca, 1862 - Barcelona, 1937)."Naval scene".Oil on canvas.It has slight restorations.Signed in the lower left area.Measurements: 81 x 121 cm.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 General Exhibitions of Barcelona in 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.

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Setdart Subastas S.L
Lot 34

PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Woman indoors", 1969.Oil on canvas.Signed and dated in the lower right corner.Old Sala Parés label on the back.Measurements: 73 x 92 cm; 90 x 108 cm (frame).A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised and diaphanous line, and are in tune with the return to order following the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

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Setdart Subastas S.L
Lot 35

JOSÉ MANUEL CAPULETTI LILLO DEL POZO (Valladolid, 1925 - Eltville am Rhein, Germany, 1978).Untitled.Oil on canvas.Signed in the lower right corner.Size: 70 x 60 cm.Manuel Capuletti was a self-taught artist. He began to enter the world of art in 1951, when he decided to move to Paris, where in 1952, thanks to his art dealer André Weil, he had his first individual exhibition in his gallery. Despite this, it was not until years later that he managed to overcome a precarious situation and establish his artistic career. By 1954, he was already a member of the cultural elite of the French capital, participating in numerous exhibitions where he acquired great recognition from the public and critics. It was also in 1954 that he began to broaden his artistic horizons, participating in various theatrical projects, such as Arte Flamenco Puro, which premiered at the Théâtre des Champs Elysées in Paris, and for which Capuletti designed the costumes. From 1958 onwards, his painting made the leap to the United States, exhibiting his work in numerous galleries in the country, such as Hammer Galleries, in New York, and exploiting his facet as a costume designer, even collaborating with the Harkness Ballet company in New York, for whom he also made several sets. In 1967 he returned to Spain, and two years later he held an important exhibition of portraits of flamenco singers and dancers at the Ateneo de Sevilla. However, in 1976 he died unexpectedly during a trip to Germany, and was buried in the Walluf cemetery. A large part of his legacy remained in the Mairena and Alcalá collections. Capuletti's work, with a clear surrealist aesthetic of metaphysical heritage, was manifested through numerous media; drawings, illustrations, engravings, paintings and posters were common in his production, with his artistic work in the theatre being especially noteworthy, where his stage designs and costumes for flamenco shows and ballets of famous flamenco dancers, such as Vicente Escudero, Antonio and Pilar López, stood out.

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Setdart Subastas S.L
Lot 37

GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.It has damages in the frame.Stamp on the back.Signed in the lower right corner.Measurements: 40 x 32,5 cm; 52 x 43,5 cm (frame).In this work the artist depicts a picturesque corner consisting of a vaulted midá or fountain of ablutions, covered on the outside with whitish-blue tiles and situated at the open door of an oratory or mosque. It should be noted that Bilbao spent several years in Morocco, visiting Tangiers and other cities, the result of which is the series he produced at that time in which he evokes the aesthetics of Orientalism.Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.

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Setdart Subastas S.L
Lot 4

JOAQUÍN MIR TRINXET (Barcelona, 1873 - 1940).Untitled.Oil on panel.Signed in the lower right corner.Size: 25.5 x 32 cm; 46.5 x 53 cm (frame).Joaquim Mir studied at the School of Fine Arts of San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual) to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir presented two works that give us a clear idea of the group's ideals: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). Also, from 1897 he frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde gathered, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. From this period are "Slopes of Montjuic" (1897) and "The Cathedral of the Poor" (1898), the two masterpieces of his youth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, particularly that of Sa Calobra, which was an inexhaustible source of inspiration for him. From then on the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the villages of the surrounding area that were the protagonists of his painting. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.

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Setdart Subastas S.L
Lot 43

MANUEL BENEDITO Y VIVES (Valencia, 1875 - Madrid, 1963).Untitled.Oil on canvas.Damage to the frame.Signed in the lower left corner.Size: 54 x 44,5 cm; 66 x 57,5 cm (frame).Benedito y Vives begins his training at the School of Fine Arts of San Carlos in Valencia in 1888, where he studies under the direction of Salvá y Vilá, and in 1894 he enters the workshop of Joaquín Sorolla, who will be his main teacher. Two years later he travelled with him to Madrid, where he made illustrations for "La revista moderna" and "Blanco y Negro". He obtained a pension in Rome in 1900 and, after spending four years there, he travelled to France, Belgium and Holland, settling in Volendam in 1909. He produced portraits, still lifes, local types and landscapes, and his solo exhibitions included those held at the Sala Amaré in 1907 and at the "Blanco y Negro" salons in 1910. In 1918 he was appointed artistic advisor to the Royal Tapestry Factory and in 1923 a member of the San Fernando Royal Academy of Fine Arts (Madrid) and the San Carlos Academy of Fine Arts (Valencia). He taught at the San Carlos School of Fine Arts and later colour and composition at the San Fernando School, replacing his teacher Sorolla. He was subsequently appointed director of the Madrid School of Fine Arts. In 1925 he was appointed corresponding member of the Hispanic Society of America, corresponding member of the National Academy of Fine Arts in Lisbon, and in 1941 president of the board of trustees of the Sorolla Museum. After his death in 1963 the Casa-Museo Benedito was founded in Madrid. In his mature years he turned to portraiture; Alfonso XIII and Concha Piqué, among other prominent personalities of the time, posed for him. His awards include the first medals obtained at the National Fine Arts Exhibitions of 1904 and 1906; and the gold medals at the Hispano-French Exhibition of 1908, and at the International Exhibitions of Munich (1909), Brussels (1910), Buenos Aires (1910) and Barcelona (1911). Works by Manuel Benedito are held in the Prado Museum, the Fine Arts Museums of Valencia, Santander, Asturias, Havana and Buenos Aires and the Hispanic Society of America (New York), among others, and in prominent private collections such as the Jr. Sackar in Sydney.

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Setdart Subastas S.L
Lot 50

JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923).Untitled.Oil on panel.Signed in the lower right corner.Size: 16 x 34 cm; 35 x 53 cm (frame).José Navarro Llorens took up painting at a very early age, and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Malaga and in the Gerstenmaier collection, among other public and private collections.

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Setdart Subastas S.L
Lot 66

JOAQUIM TERRUELLA MATILLA (Barcelona, 1891 - 1957)."Landscape" 1918.Oil on canvas.Signed and dated in the lower left corner.Size: 48 x 58 cm; 68 x 78 cm (frame).Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Santiago Rusiñol. He made a trip to Italy with the latter in 1923, as well as spending some time working together in Aranjuez. He also painted in Paris and Palma de Mallorca. He had his first solo exhibition at the now defunct Sala Goya in Barcelona in 1916. From then on he exhibited in Barcelona, especially in the Sala Parés (from 1924), and also showed his Impressionist landscapes in galleries in Paris (he exhibited there for the first time in 1922), Madrid, Palma, Saragossa, Bordeaux and Biarritz. From 1928 onwards he showed his work at the Sala Gaspar in Barcelona, where he would continue to exhibit until 1952. In 1956 he held his last exhibition at the Sala Busquets, also in his native city. Since then his work has been present in various group and anthological exhibitions, such as the one held at the Sala Gothsland in Barcelona in 1985. In 1993, Ángeles Cortina brought together a series of his oil paintings and drawings in her Barcelona gallery. Joaquín Terruella was a fundamentally landscape painter, in the wake of Impressionism, who reflected the Catalan landscape with delicacy and subtle transparency. Another of his favourite subjects was the world of bullfighting, and in fact he worked as a bullfighting illustrator for the publications "El Día Gráfico" and "La Noche". He also painted scenes of gypsies and concert cafés. His work is kept in the Museum of Contemporary Art in Barcelona, the Museum of Contemporary Art in Madrid and the Provincial Museum of Lugo.

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Setdart Subastas S.L
Lot 69

GENARO LAHUERTA (Valencia, 1905-1985)."Paris Street" 1960.Oil on canvas.Signed and dated in the lower right corner.Measurements: 62 x 45 cm; 81 x 66 cm (frame).He began his studies in the School of Arts and Crafts of Valencia and in 1919 he enrolled in the School of Fine Arts of San Carlos, where he met Pedro de Valencia and with whom he became a great friend. His beginnings at the academy led him to become acquainted with the avant-garde movements which, at that time, were already in operation in the rest of Europe, in an attempt to break with "Sorollism". In 1928 he took part in the First Valencian Manifestation of Young Art, and a year later he presented his work at the Sala Parés in Barcelona. He thus became the pioneer of the pictorial renovation in Valencia during the 1920s, reaching its peak in the following decade, when the "Valencian artistic avant-garde of the 1930s" took shape. He began his career with figures reminiscent of the German avant-garde and Italian painting of the "quatrocento", with an interest in the human figure. However, his language changed as a result of the trips he made to Italy, France, Belgium and Holland, returning with a colourist tendency typical of the "Fauves". To this tendency he added the colours he had captured in the Sahara, with violet and yellow tones. He was a great discoverer of nature, capturing for the first time a new Valencian landscape.

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Setdart Subastas S.L
Lot 7

VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Young Parisian Girl", c. 1876.Oil on canvas. Re-coloured.Attached certificate issued by Don Ángel Castro.Signed in the lower left corner.Measurements: 62 x 51 cm.Son of an Italian lithographer, Palmaroli entered in the Superior School of Fine Arts of the Academy of San Fernando, 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 aesthetic 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.

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Setdart Subastas S.L
Lot 8

GONZALO BILBAO (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower left corner.Measurements: 77 x 100 cm.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France together with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, including prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.

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Setdart Subastas S.L
Lot 83

FRANCESC GIMENO I ARASA (Tortosa, Tarragona, 1858 - Barcelona, 1927).Untitled.Oil on canvas.Signed in the lower right corner.Size: 19,5 x 31,5 cm; 40,5 x 53 cm (frame).Painter and draughtsman, Francesc Gimeno began his training in Tortosa at the age of fourteen. In 1880 he settled in Barcelona and worked as a decorative painter. In 1884 he moved to Madrid, where he completed his training with Carlos de Haes and studied the works in the Prado Museum. On his return to Barcelona in 1889, he suddenly rejected the contracts he was offered and returned to decorative painting. Gimeno remained almost always on the fringes of the commercial art world. For most of his life, he kept away from official circles and painted what was closest to him, his family and himself, without ever neglecting landscape painting. He took part in a few exhibitions, winning prizes such as the honorary diplomas at the Barcelona exhibition of 1894 and the Madrid National Exhibition of 1904, but his works were frequently rejected by the juries. Nevertheless, Gimeno also had a small circle of admirers. The critic Romà Jori, the painter Ignasi Mallol and the gallery owner Josep Dalmau organised the painter's first solo exhibition in 1915. The exhibition was a critical success and for the first time his artistic work was recognised. Recognition of Gimeno's work grew in the last years of his life until it culminated in the homage paid to him at the Sala Parés at Christmas 1925. The MACBA dedicated an exhibition to him in 1978, and in 2006 the Museo Nacional de Arte de Cataluña held the first truly anthological exhibition devoted to his work. Gimeno is represented in the Museo del Prado, the MACBA in Barcelona, the Museo de Montserrat, the Museo Nacional de Arte de Cataluña, the Francisco Godía Foundation and the J. Sala collection, as well as in several important private collections.

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Setdart Subastas S.L
Lot 88

JOAQUÍN TERRUELLA MATILLA (Barcelona, 1891 - 1957)."Picador", 1955.Ink and watercolour on paper.With oxidised paper and stains in the corners.Signed and dated in the lower right corner.Measurements: 23.5 x 33.5 cm; 40.5 x 51 cm (frame).Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Santiago Rusiñol. He made a trip to Italy with the latter in 1923, as well as spending some time working together in Aranjuez. He also painted in Paris and Palma de Mallorca. He had his first solo exhibition at the now defunct Sala Goya in Barcelona in 1916. From then on he exhibited in Barcelona, especially in the Sala Parés (from 1924), and also showed his Impressionist landscapes in galleries in Paris (he exhibited there for the first time in 1922), Madrid, Palma, Saragossa, Bordeaux and Biarritz. From 1928 onwards he showed his work at the Sala Gaspar in Barcelona, where he would continue to exhibit until 1952. In 1956 he held his last exhibition at the Sala Busquets, also in his native city. Since then his work has been present in various group and anthological exhibitions, such as the one held at the Sala Gothsland in Barcelona in 1985. In 1993, Ángeles Cortina brought together a series of his oil paintings and drawings in her Barcelona gallery. Joaquín Terruella was a fundamentally landscape painter, in the wake of Impressionism, who reflected the Catalan landscape with delicacy and subtle transparency. Another of his favourite subjects was the world of bullfighting, and in fact he worked as a bullfighting illustrator for the publications "El Día Gráfico" and "La Noche". He also painted scenes of gypsies and concert cafés. His work is kept in the Museum of Contemporary Art in Barcelona, the Museum of Contemporary Art in Madrid and the Provincial Museum of Lugo.

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Setdart Subastas S.L
Lot 9

GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower right corner.Measurements: 69 x 88 cm; 73 x 93 cm (frame).The landscape was one of the genres in which Gonzalo Bilbao cultivated the most, in such a way that his work reflects a wide variety that goes from maritime, fluvial and terrestrial views, adapting pictorially diverse locations that go from the Andalusian countryside to the city of Morocco. Sometimes they are populated by people, while at other times they are desolate, as in this painting. His mastery and intense activity as a landscape painter involved a great mastery of technique, and he was a master of capturing light and atmosphere. This work is a clear example of this, as the artist captures a specific moment of the day.Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.

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Bonhams
Lot 12

A group of four Italian second half 18th century 'lacca' and parcel gilt mirrorsVenetian, each one a different modelEach decorated with assorted flowers and scrolled foliage, one mirror painted with a bird and another depicting a rustic couple reclining together with a dog in a rural landscape, within similarly shaped pierced foliate C- and S-scroll, acanthus and rocaille carved surrounds, one surmounted by a classical profile medallion, one mirror with a 'Galleria Orsi' label to the reverse, one mirror approximately: 74cm high x 45cm wide. (4)Footnotes:ProvenanceGalleria Orsi.Purchased in the late 20th century by the current owner and vendor from the dealer Cesaro, in Padua.A Venetian 18th century 'lacca' mirror, which is similar to two of the mirrors comprising the offered lot, sold Christie's, London, 29 April-20 May 2021, The Collector: Onine, lot 85.The fashion for exotic lacquers from China and Japan reached the Occident through the centuries, and came to its apogee in Venice in the 18th Century. Venetian 'laccatori' were among the first to imitate lacquer, and their furniture and objects were much sought after as a result. Chinoiserie motifs closely imitated Oriental patterns at first, but during the second half of the 18th Century, Venetian lacquerers created different designs, loosely combining chinoiserie motifs with figures, animals, birds and landscapes. Other imitations of oriental lacquer were created in Venice, as the technique known as 'lacca povera' with printed glued vignettes. Interestingly, after the painted decoration was finished, the 'laccatori' used up to eighteen layers of a specific varnish called 'sandracca' which was applied to protect the decoration. With time, this precious varnish turned yellowish, therefore changing our perception of the initial ground colour, which most of the time was originally light blue or turquoise. Ageing 'sandracca' crackled, giving its surface a delicate fine craquelure only visible under close examination, which is a sign of an untouched decorative scheme.Related LiteratureG. Morazzoni, Il Mbile Laccato del Settecento, Vol II, 1958, Milan, tav. CDLXXX a sin.G. Mariacher, Specchiere Italiane e Cornici da Specchio, dal XV al XIX Secolo, 1963, tav. II.C. Santini, Le Lacche dei Venziani, 2003, Modena, p. 103, fig. 32.S. Levy, Lacche Veneziane Settecentesche, Vol. II, tavv. 318-319.Galleria Silva, Catalogo, No. 4, Settembre 2005, pp.'s 46-47.Galleria Silva,This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 14

A George II silver cup and coverWilliam Grundy, London 1747 Cylindrical with baluster form cover chased with fruiting vines and entwined vine finial, the rim with ribbon and flower head motifs, the sides with caryatid scroll handles capped respectively with a male and female faun, with fur bodies and hoof feet, trailing vines below, finely cast and chased detailed with 'lion pelt' among vines, rococo scroll cartouches above an applied girdle, the lower body with a band of scrolls and foliate festoons, the pedestal with twist-flutes on a spreading circular foot with further fruiting vine band, the cartouches with later engraved crests, height 40.5cm, weight 115oz.Footnotes:The arms and crest are assumed and unrecorded and are used by the HUGHES family of East Bergholt, Suffolk. They are recorded in the index: Armorial Families (1895) 'as used but for which no authority has been established in the College of Arms'. The family could have been using the arms and crest from any date but 1895 was the first recorded use. In 1773 the family were created Baronets and in 1895, when the first record appears, the holder was Sir Alfred HUGHES (1825-1898) 9th Baronet who married Maria SMITH daughter of Col. John SMITH of Ellingham Hall, Norfolk.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 17

A pair of George IV silver entrée dishes and coversJohn Bridge, London 1825 Each shaped-rectangular with gadroon and shell embellished rims to the bases, the high domed covers with broad gadroon band and incurved corners, with bold oak leaf and acorn handles, each cover engraved with a coat of arms, inside of bases with engraved crest a stag's head charged with three bars and holding in the mouth an olive branch, each numbered 3 and 4, length 28cm, weight 135.5oz. (2)Footnotes:This Jewish armorial engraving represents a marriage between the fourth son of the COHEN family of Cannonbury House and the daughter of the SALOMONS family of Broomhill Kent. Both families having long standing Jewish ancestry. The blazon of the armorial: argent, a chevron gules cotised azure between in chief two roses and in base a stag's head couped (Cohen), a martlet for difference – impaling – party per chevron gules and sable, a chevron vair between two lions rampant double cued or each holding between the paws a plate charged with an ermine spot and in base a cinquefoil erminois (Salomons).There is a record of a marriage of a Solomon Levi COHEN (1776-1864), who was the fourth surviving son of Levi Barent COHEN (1747-1808) by Fanny DIAMANTSCHIEFER (died 1818), in 1802 he married Hannah SAMUEL (1776-1881). They had issue that included Jeanette who in married in 1825 Sir David SALOMONS (1797-1873), the first Jewish Lord Mayor of London. Notably there are numerous records of marriages between members of the SAMUEL and SALOMONS in this period and it maybe the SAMUEL family involved in the record here have adopted the SALOMONS' armorial.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 38

A monumental Victorian silver and parcel-gilt double-handled cup and coverCharles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905) Tapering urn form, polished gilt highlights to the whole, the vase-shaped flaring neck embossed with symmetrical arabesques, repoussé ovals, diamonds and hearts against a matt and burnished ground, a shaped scroll and foliate upper rim, the pull-off double-knop circular cover topped by a baluster finial, the two handles formed by a pair of cast female Winged Victory, one either side draped in diaphanous garb, a circular laurel wreath in each hand, arms outstretched, both elegantly balanced on the head of a roaring mythical beast, to the main a three dimensional English Civil War diorama with Roundheads and Cavaliers on horseback, arms and flags aloft, and on the reverse an engraved armorial for SIR DAVID BAXTER (1793-1872), First Baronet of Kilmaron, within applied fleur-de-lis and foliage, a gilded double banded girdle to the lower body, repeating arabesques tapering to a shaped octagonal mount, the knop beneath joined to a spreading circular base adorned with cast mythical sea creatures and scrolling leaves, a domed heart-shaped cartouche either side inscribed with initials and set within an openwork shield, the stepped foot with zig-zag motifs and gilded rim, height 65cm, diameter approx 28cm, weight 228oz.PLEASE SEE BONHAMS WEBSITE FOR THE FULL FOOTNOTE ON THIS LOT:-Bonhams : A monumental Victorian silver and parcel-gilt double-handled cup and cover Charles Frederick Hancock, London 1866, designed and modelled by Henry Hugh Armstead (1828-1905)

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Lot 58

Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 64

A pair of Restauration giltwood fauteuils by Pierre-Antoine Bellangé (1758-1827) or Louis-Alexandre Bellangé (1799-1863)1815-1820Each with a scrolled dished top and an opposing volute scroll, anthemion and acanthus spray toprail centred by a flowerhead, the bowed seat frame with similar decoration centred by an elongated scrolled tablet, with lotus-leaf clasped and scroll capped arm supports, on two acanthus and stiff-leaf wrapped lion-bust headed monopodiae terminating in animalistic legs and lion paw feet, with splayed square section rear legs, each side applied with scrolled stylised foliage interspersed with anthemia and paterae, each fauteuil stamped: 'L.BELLANGE' and one fauteuil stamped: 'CH', approximately: 71cm wide x 72cm deep x 100cm high, (27 1/2in wide x 28in deep x 39in high) (2)Footnotes:Provenance Purchased Koller, Zürich, September 2005, Collection Dino Fabbri, Monte Carlo, lot 1276. An identical pair of fauteuils, which along with the offered lot, likely formed part of an extensive set apparently made by the cabinet maker Louis-Alexandre Bellangé, sold Christie's, London, 23 March 2017, Robert de Balkany Rome and the Cote d'Azur, lot 494. Both pairs have the same 'L. BELLANGE' and 'CH' stamps which prove that they were originally from the same commission. The Christie's armchairs previously belonged to Aladar Zellinger de Balkany (1900-1983), and passed thence by descent.A further pair of fauteuils of this same type were offered, together with a matching sofa, Sothebys, Paris, 23 June 2021, Important Mobilier, lot 156. However, interestingly these Paris examples were attributed to the workshop of Pierre-Antoine Bellangé, who was the father of Louis-Alexandre.The design for the present armchairs is based upon a watercolour entitled 'Deux Projets de Fauteuils' (1817-1820), bearing the signature of Louis-Alexandre Bellangé. It forms part of a collection of illustrations, taken from 'l'Atelier Bellangé', which are at the Metropolitan Museum of Art in New York, S. Cordier, Bellangé, Ebenistes: une Histoire du Gout au XIX Siecle, 2012, Paris, fig. 4. However the antecedent, which incorporates similar lion monopodia to those of the above, was one of a number of drawings for related seat furniture and tables which first appeared in Charles Percier and Pierre-Francois Leonard Fontaine, Recueil de Decorations Interieures, originally published in 1812. It is notable that these Percier and Fontaine examples had in fact been sourced themselves from antiquity.Another closely related design for fauteuils, one attributable to Pierre-Antoine Bellangé (Louis-Alexandre's father), was executed during the period 1815-1820 and corresponds well with a set of chairs and sofas supplied to the Comtesse du Cayla for the Chateau of Saint-Ouen of Zoe, Ibid, p. 489, PAB107. This strong association or interrelationship between father and son implies that at an early stage the much younger figure of Louis-Alexandre must have undertaken a thorough analysis of his father's oeuvre.Indeed between 1820 and 1825, towards the end of their contractual arrangement during their co-operation based at the family workshop on Rue Neuve-Saint-Denise, various pieces of seat furniture made at this time are either stamped: 'L. BELLANGE', such as appear on the offered lot, or: 'P. BELLANGE'. Some of the models that have the 'L. BELLANGE' stamp feature in Ibid, p. 500, LAB1 and a pair of such fauteuils also sold Sotheby's, New York, 25-26 October 2007, Ariane Dandois Collection, lot 523.Furthermore, an assortment of designs dating to circa 1818, which were completed by Louis-Alexandre, are today with the Metropolitan Museum in New York. Interestingly this particular portfolio even includes an engraved plate depicting a near conforming armchair to the present ones, which was itself evidently made in Pierre-Antoine's workshop at some point during 1815-1820.Pierre-Antoine Bellangé became maitre in 1788. But despite working as a cabinet maker throughout the Revolution (1789-1799), it appears that his career really flourished during the Empire period and the initial part of the Restauration, or restoration of the monarchy. Pierre-Antoine developed into one of the principal suppliers of furniture to Napoleon and also to those closest to the Emperor, before in due course serving as cabinet maker to the Garde-Meuble de la Couronne (basically the Royal furniture repository) during the reign of Louis XVIII.Louis-Alexandre Bellangé, who ran his own atelier and shop at 33 Rue des Marais-Saint-Martin, established himself and his firm as specialist in the production of furniture incorporating porcelain, lacquer and hardstones, as well as Boulle-inspired pieces. In 1833 he tried unsuccessfully to get a place at the Garde-Meuble de la Couronne restoring earlier works. However, disappointment at this rejection must have been tempered by his subsequent appointment as a supplier to the Duc d'Orléans. His gold medal-winning contribution to the Paris exhibition of 1839 won him significant praise from the jury at that event. Although fairly early on in his career Louis-Alexandre supplied furniture to Charles X, subsequently at the 1844 Exposition des Produits de l'Industrie Française Louis-Philippe (when King) acquired a Boulle table from the illustrious cabinet maker. Later on, at the 1851 Great Exhibition, he was awarded a second class medal for the Boulle objects his firm had produced for Crystal Palace. Examples of his oeuvre, made either independently or in collaboration with his father, may be found in the Wallace Collection, London and in the collection of Her Majesty the Queen at Windsor Castle.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 74

Jean-Baptiste Auguste Clésinger (French, 1814 -1883: A bronze group entitled 'Jeunesse de Bacchus'the young Bacchic putto seated on a striding jaguar, the rectangular base inscribed, signed and dated JEUNESSE DE BACCHUS, J CLESINGER. Rome. 1869 with Bronze Artistique de Paris pastille mark, brown patina, 44.2cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 23 November 1990, 19th Century Sculpture, lot 90.This present lot is a reduction in bronze of the marble group in the Museum of Versailles which was exhibited at the centennial exhibition of French Art in 1900, originally executed in 1868 in white marble and in grey marble the following year. It is one of only two known models by Clésinger cast by the Marnyhac foundry, the larger edition being produced by Clésinger's usual foundry, Barbedienne.Clésinger first studied under his father, the artist George Philippe before continuing his studies under Bertel Thorwaldsen in Rome and David D'Angers in Paris. He began exhibiting in the Salon in 1843 making his debut with a bust of Viscomte jules de Valdon. In his lifetime he was commissioned to do many public monuments including the bust of Liberty on the Champs de Mars and he was created an Officer of the Legion of Honour in 1884.For further information on this lot please visit Bonhams.com

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Lot 76

A pair of unusual English carved and gilt gesso owl wall bracketsprobably early 19th century, perhaps in the manner of William Kent (British, 1685-1748)the gadrooned circular plateau tops supported on the heads of the birds with outspread and clenched talons, with iron bracket fixings, 28cm high, 52cm wide, 24cm deep (2)Footnotes:The painter, architect and interior designer William Kent was major figure of Palladianism deriving his inspiration from the designs of the 16th century Italian architect Andrea Palladio (1508-1580). Strongly influenced by ancient Roman architecture the motifs of classicism and its motifs of shells, masks and pediments formed the basis of the architectural movement. Beginning as painter, Kent's interest shifted to architecture and interior decoration after meeting the amateur architect and patron, Richard Boyle, third early of Burlington. The pair first met whilst on 'Grand Tour' in Italy where Burlington was studying the architecture of Andrea Palladio. As such he duly engaged Kent to decorate both Chiswick and his London home, Burlington House. The villa at Chiswick was inspired by Palladio's Villa Rotunda at Vicenza and built to Burlington's designs between 1724-1727. The interior was decorated and furnished to the designs of William Kent by a team of craftsmen including cabinet-maker Benjamin Goodison and carver and gilder John Boson. Burlington had married Lady Dorothy Savile in 1721 and during the building works at Chiswick she was made Lady of the Bedchamber to Queen Caroline. Whilst undertaking her position at court she oversaw the decoration in conjunction with Burlington and Kent including choosing fabrics and bed hangings. Pertinently she oversaw the decoration of the Garden Room or Summer Parlour at her own 'expense' which incorporated owl motifs from her family crest to the elaborating painted ceiling and it was this owl theme that is attributed as the influence for Kent supplying a pair of pier tables and matching mirrors decorated with carved and gilded owls Chiswick HouseFor further information on this lot please visit Bonhams.com

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Lot 78

A rare and interesting James II leaded bronze measure, of bushel capacitycirca 1685-1688the rim struck four times with the dagger mark for London, and four times with an 'I' beneath a crown, the body engraved with the coat of arms of JEFFREYS to one side, and the crest of JEFFREYS to the other, both within leafy mantling, with angular lug handles and raised on three lion's paw feet, 50cm rim diameter x 17.5cm highFootnotes:The arms engraved on this bushel measure are as follows ermine, a lion rampant sable, a canton of the last; the crest a demi-lion or jessant a laurel wreath proper. Both were borne by George Jeffreys, 1st Baron Jeffreys of Wem (1645-1689) otherwise known to history as Judge Jeffries. Engraved beneath a baron's coronet, they must date from 1685 or thereafter when Jeffreys was raised to the peerage as 1st Baron Jeffreys of Wem. This conforms with the verification marks to the measure's rim, one of which is a crowned I (J), for James II, who succeeded his brother Charles II in the same year. Jeffreys was born at Acton Park near Wrexham in Denbighshire. His elevation to the peerage in 1685 was the culmination of a distinguished legal career. Jeffreys entered the Inner Temple in 1663 and was called to the bar in 1668. He obtained his first public legal office in 1671, when he was elected common serjeant of London. In 1677, he was knighted and made king's counsel. Shortly afterwards, he was appointed Recorder of London, the city's highest legal office. It was shortly afterwards that he opened the treason case against Edward Coleman, and he presided - with others - over the trial of conspirator William Ireland, both accused as part of the Popish Plot unleashed by Titus Oates. Jeffreys, as recorder, pronounced sentence. In 1679, James, then duke of York, asked Jeffreys to serve as his solicitor-general and in 1681, the King made Jeffreys a baronet. Two years later, he was appointed Chief Justice of the King's Bench and was sworn a member of the Privy Council. In 1684, he was engaged in prosecuting members of the Rye House Plot, including Sir Thomas Armstrong. On 16 May 1685, Jeffreys was raised to the peerage, his title taken from the Shropshire manor he had acquired the year before. In July, he and four other judges were sent on assizes in the west of England, to try rebels captured after the battle of Sedgemoor following Monmouth's rebellion. Jeffreys has been pilloried for his part in the death of Lady Alice Lisle, an elderly widow accused of treason for giving shelter to a few of the rebels. Cross-examined vigorously by Jeffreys, she was executed, but it has been noted by scholars in recent years that it was James II who denied her mercy. Approximately two hundred rebels were executed and another thousand were transported to the West Indies. On his return to London, in September 1685, Jeffreys was made Lord Chancellor.Jeffreys did not endorse the King's attempts to seek toleration for Catholics by remodelling county benches and urban corporations, and his influence appears to have waned slightly thanks to the rising influence of Catholics at court. In April 1687, he refused to sign James' first declaration of indulgence. However, in 1688, he was present when the Prince of Wales was born and, in July 1688, when Jeffrey's son John married Lady Charlotte, the heir of Philip Herbert, seventh earl of Pembroke, the king was present at Bulstrode, the estate purchased by Jeffrey's in the 1670s and rebuilt (after a fire) in the mid-1680s.His fortunes followed those of James II, and Jeffreys, caught trying to flee the realm, died in prison in 1689. In his will, he explained that he had been 'in hopes not withstanding my long indisposition of belly [he had been ill for some years]...' of recovering 'soe much strength as to have been able to have vindicated myself...'. He left five children, three from his first marriage and two from his second. His son, John, left a single surviving daughter, Henrietta Louisa, later Countess of Pomfret.Despite his reputation for cruelty and vindictive judgments, Jeffreys was also celebrated as a very able lawyer, and a master of cross-examination who presided ably in civil cases. None of his decrees as Lord Chancellor were later reversed.It is, perhaps, of interest that two similar bushel measures survive at Erddig, not far from Acton Park, where Jeffreys was born and grew up. One (NT114768) is dated 1663 and the other (NT1147687), 1716. The latter is inscribed for John Meller, 'Farmer of the Toll' within the town of Wrexham, and dates from the year he acquired Erddig from Joshua Edisbury. Both measures have more typical stylised paw feet. Interestingly, Sir Godfrey Kneller's (1646/9-1723) portrait of George Jeffreys, together with a portrait of his brother (NT1151315), Sir Thomas Jeffreys, hang at Erddig and were reputedly acquired by the Yorke family (then owners of Erddig) in the late 18th century.For further information on this lot please visit Bonhams.com

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Lot 87

Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

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Lot 89

Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com

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Dresdner Kunstauktionshaus Günther
Lot 348

Unbekannter Genremaler, 17. Jh.Einladung zur Bootspartie. Öl auf Leinwand, doubliert. Unsigniert. Rückseitig von fremder Hand bezeichnet "D.Cook". In Schmuckrahmen. 56 x 50 cm (Ra). Restaurierter Zustand: Leinwand doubliert, kleine Retuschen unter Firnis. Narrative Genreszene am See im Abendlicht. Der Einladung zur Bootspartie folgt die junge Dame nur sehr zögerlich; der Sprung vom festen Felsengrund in den wackeligen Kahn an der Hand des hoffnungsvoll schauenden jungen Herrn scheint ihr nicht geheuer. Sinnreiche Allegorie auf die junge Liebe und das Wagnis der Ehe. Unknown genre painter, 17th century. Invitation to a boat trip. Oil on canvas, relined. Unsigned. Backside with remark "D.Cook" by unknown. Ornamental frame. Restored condition: small retouches under varnish. Narrative genre scene on the lake in evening light. The young Lady is stumbeling into the open arms of the Gentleman. The passing from the solid rocks onto the shaky boat is a nice allegory on first love and the ventures of marriage.

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Dresdner Kunstauktionshaus Günther
Lot 784

Klassizistischer Rahmen, erste Hälfte 19. Jh.Eleganter Grafikrahmen in Kirschbaumfurnier mit ebonisierten Eckquadraten und goldgefassten Rosetten. Mit Glas. 39 x 47 cm (AM), 35 x 43 cm (FM), 33,5 x 42 cm (LM). Leichte Gebrauchsspuren. Beigeben in der Rahmung: Faksimiledruck einer Vedute von Lübeck von Martin Engelbrecht (Augsburg, um 1730). Classicistic or Regency frame, first half 19th century. Elegant print frame in cherry veneer with ebonized corner squares and gilt roses. With glass. Some traces of usage. Comes with a re-print of a view of the town of Lubeck by Martin Engelbrecht (Augsburg, around 1730).

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Dresdner Kunstauktionshaus Günther
Lot 528

"The Attack of the Stockades at Pagoda Point on the Rangoon River by Sir ArchibaldCampbell, K.C.B. 8th July 1824" (Der Angriff auf die Befestigungen von Pagoda Point am Rangun Fluß durch Sir Archibald Campbell am 8. Juli 1824). Kolorierte Aquatintaradierung von Reeve Jr. nach Lieutenant Joseph Moore, 1826. Publiziert bei Thomas Clay, London. Stechersignaturen unterhalb der Darstellung. Mittig betitelt. Hinter Glas gerahmt. 40 x 55 cm (Ra). Leicht stockfleckig, deutlich lichtrandig und gebräunt. Farblich etwas verblasst, insgesamt angestaubt. Sehr dynamische Schlachtenszene, die einen Angriff per Boot von britischen Truppen der Ostindia-Kompanie im Ersten Anglo-Birmanischen Krieg bei Rangun zeigt. Tafel 16 aus: Joseph Moore, Eighteen Views Taken at and Near Rangoon. Six Coloured Prints Illustrative of the Combined Operations of the British Forces in the Birman Empire, First and Second Series in one vol., London (Thomas Clay) 1825/26. Seltenes Sammlerblatt! Plate 16 from Joseph Moore's Eighteen Views Taken at and Near Rangoon (London 1825/26). Coloured aquatint etching. Engraver's signatures and titled below the motif. Framed behind glass. Some foxing, darker tanned by the sunlight. Colours a bit faded, allover dusty. Dynamic battle scene during the First Anglo-Burmese-War. Very rare!

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Dresdner Kunstauktionshaus Günther
Lot 572

Unbekannter Genremaler, 1. Hälfte 18. Jh.Musikalische Abendgesellschaft. Öl auf Leinwand, wohl um 1700 / erste Hälfte 18. Jh. Unsigniert. Gerahmt. 73 x 86 cm (Ra). Doubliert, kleine ältere Retuschen unter Firnis. Heitere Gesellschaft in adligem Haus mit Wein und Musik. In der Art der Genreszenen des Franz Xaver Verbeeck (1686-1755 Antwerpen). Unknown genre painter, 1st half 18th century. Gettogether with music and wine. Oil on canvas, pres. around 1700 or first half 18th century. Unsigned. Framed. Canvas relined, some small elder retouches under varnish. In the manner of FX Verbeeck (1686-1755 Antwerp).

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Dresdner Kunstauktionshaus Günther
Lot 517

"The Storming of the Lesser Stockade at Kemmendine near Rangoon on the 10th of June 1824"(Die Erstürmung der minderen Palisade von Kemmendine, dem heutigen Kyimyindaing, bei Rangun am 10. Juni 1824). Kolorierte Aquatintaradierung von G. Hunt nach Lieutenant Joseph Moore, 1826. Publiziert bei Thomas Clay, London. Stechersignaturen unterhalb der Darstellung. Mittig betitelt. Hinter Glas gerahmt. 40 x 55 cm (Ra). Leicht stockfleckig, deutlich lichtrandig und gebräunt. Wasserrand unten rechts, insgesamt angestaubt. Sehr dynamische Schlachtenszene, die einen Angriff britischer Truppen der Ostindia-Kompanie im Ersten Anglo-Birmanischen Krieg bei Rangun zeigt. Tafel 10 aus: Joseph Moore, Eighteen Views Taken at and Near Rangoon. Six Coloured Prints Illustrative of the Combined Operations of the British Forces in the Birman Empire, First and Second Series in one vol., London (Thomas Clay) 1825/26. Seltenes Sammlerblatt! Plate 10 from Joseph Moore's Eighteen Views Taken at and Near Rangoon (London 1825/26). Coloured aquatint etching. Engraver's signatures and titled below the motif. Framed behind glass. Some foxing, darker tanned by the sunlight. Waterstain bottom right, allover dusty. Dynamic battle scene during the First Anglo-Burmese-War. Very rare!

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Dresdner Kunstauktionshaus Günther
Lot 622

Lyongrün, Arnold (1871 Domnau - 1935 Hamburg)Segelboote am Kai. Aquarell über Blei, erste Hälfte 20. Jh. Signiert unten links. Hinter Glas gerahmt. 32 x 42 cm (Ra). Leicht angebräunt. Ruhiges Ostseestück mit feinem Wasserspiel. Rückseitig von unbekannter Hand mit dem Seebad Kühlungsborn in Verbindung gebracht. Sailingboats at the dock. Watercolours over pencil, first half 20th century. Signed bottom left. Framed behind glass. A bit tanned brownish. Pres. Baltic Sea.

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Dresdner Kunstauktionshaus Günther
Lot 142

Seewald, R., 20. Jh.Sonnenblumen in blauer Vase. Öl auf Leinwand, wohl erste Hälfte 20. Jh. Signiert unten rechts. Hochwertig gerahmt. 84 x 65 cm (Ra). Traditionelles Blumenstillleben der Moderne - nicht aus der Hand von Richard Seewald (1889-1976). Sunflowers in blue vase. Oil on canvas, pres. first half 20th century. Signed bottom right. High quality framing. Traditional flower stillife, obviously NOT by Richard Seewald (1889-1976).

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