dating: 1875-1890 provenance: Germany, Swivelling block of three barrels. Two smooth, 16 gauge barrels and one rifled, 9 mm cal barrel at the nozzle (all with signs of use and age, the bores need cleaning but with no heavy pitting, the rifled one with clearly visible rifling). Back sight and two folding sight leaves (to be unlocked). Barrel with antique rebluing made in the period of use. Remains of the marking 'GRELFELT & CD:' (Sic.) on one side. Breech-plates engraved with vine-shoots and granular areas. The tang with change lever for the firing pin of the rifled barrel and a small retractable peep sight. The receiver finely engraved with the effigy of a deer and a fawn among flowers. Backwards spring locks depicting a hare, a duck and various floral decorations. Working mechanism. The right hammer featuring a double strike to prime the firing pin of the smooth barrel or the one of the rifled barrel (the proper firing pin must be activated first, it is visible when the right hammer is cocked). Wooden butt and fore-end, both with checkered segment, the butt also with cheeck piece. Iron mounts. Opening lever under the trigger guard, these two elements with remains of the antique bluing. The bottom part of the handle with a silver escutcheon featuring the 'GP' monogram. The bottom part of the butt side (a small repaired block) with a compartment for four cartridges, the lid engraved en suite with the other mounts. Horn butt plate. A nice gun that needs a proper cleaning. length 108 cm.
We found 596772 price guide item(s) matching your search
There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596772 item(s)/page
dating: circa 1700 provenance: Spain, Heavy, three-stage barrel divided by rings, the breech plates with in-the-round masks keeping the vent, the first stage with a plaque featuring an inscription, one mortar with the writing 'SANGANO' and the other with 'TITERE', the second stage is enlarged and smooth, the third one featuring a Spanish coat of arms with two towers and two rampant lions under a stylized crown and surrounded by a necklace. Obliquely mounted on a rectangular bronze base, with four closed holes at the base, probably the mortars were screwed onto a carriage or other support. The Spanish words 'sangano' and 'tìtere' mean 'stupid puppet', its figurative sense is probably different. dimensions 15 x 33.3 x 26 cm.
dating: first quarter of the 19th Century provenance: France, Straight, tipped, single-and short-false-edged blade, with fuller on half of its length. With small gilt engravings featuring remains of XXX in the background. Brass mounts. Beautiful shell-guard with relieved decoration of griffins holding a mask. Guard (slightly wobbly) and pommel decorated with architectural motifs. The pommel depicting a feminine face wearing a Corinthian helmet (Athena?). Remains of gilding (mercury?). Grooved mother-of-pearl grips. Remains of leather scabbard with brass cap. length 92 cm.
dating: 1853 - 1857 provenance: London, Octagonal, rifled, 36 cal barrel (bore needs cleaning, visible rifling) with the rear marking 'ADDRESS. COL: COLT LONDON.' The left side featuring marks of the London test bench, number '5', and serial number '9xx'. Missing wedge screw. The barrel with 30% of its antique bluing. The cartridge rammer with remains of coeval bluing and without numbers. Polished cartridge rammer and with serial number coeval with the barrel. Six-shot cylinder with 40% of the antique bluing, marks of the test bench, a scene of a naval battle featuring the writing 'ENGAGED 16 MAY 1843', the mark 'COLT'S PATENT' and the same serial number as the barrel, remains of a scarcely-legible inscription 'Engraved ...' at the bottom, then with number '5'. Mechanism needs revision (the hammer rotates the cylinder, but does not load the trigger). Frame with 70% of bluing, 'COLT'S PATENT' marking on the left side, and coeval serial number at the bottom. Brass grip bands with most of the antique silver plating. Small rounded bridge. Serial number coeval with the other pieces on both bands, the one of the bridge with mark 'R'. Smooth walnut handle. Remains of a name marked on the bottom. In its antique case of the right size, with purple velvet lining (worn and with little damages), provided only with a flask marked 'J. BARLOW PATENT '. Interesting revolver with very low and coeval serial number on the components. The 'First Model' produced in London was provided with brass (not steel) bands on the handle, see 'Flayderman's Guide' 9th Edition page 90 (5B-062). length 33,3 cm.
dating: 18th Century provenance: Germany, Round, smoothbore, two-stage, 15 mm cal barrel, decorated with bas-relief rings at the first part, then round, smoothbore and with a silver mask in high-relief as a front sight; openable tang, flintlock mechanism at the inside, the hammer can be cocked by closing the tang with a wing screw. The trigger is provided with secure-lock. Slightly-carved, wooden full stock (very small restoration), the back decorated with filigree. Iron mounts with butt plate carved with floral motifs. Original, iron-tipped wooden ramrod with iron cartridge extractor. length 43 cm.
dating: Early 19th Century provenance: Southern Italy, Smoothbore, two-stage, 19 mm cal barrel, octagonal with three marks (not clearly legible) at the first part and then, after rings, round; flintlock marked 'CM', brass pan, carved end and spring. Wooden full stock with sculpted mouth (a missing part), decorated with thin grooves at the edge and at the back, micro-checkered butt, octagonal pommel, brass mounts engraved with palms and pierced. Brass-tipped, iron ramrod. length 33 cm.
dating: about 1810 provenance: London, Smoothbore, brass, two-stage barrel, octagonal at the first part, with frame engraved at the base and two marks of the test bench, then round after a ring, and with a circularly bell-mouthed muzzle, the iron front sight works also as a locking mechanism for the bayonet, it is mounted above the barrel and released with a spring on the engraved tang. Elegant flint lock signed 'PEACOCK', engraved with floral motifs and with anti-friction, watertight and secure-lock systems. Full wooden stock with checkered neck. Brass mounts finely engraved with floral motifs. Brass-tipped, wooden ramrod and iron cartridge extractor with screwable brass stopper. Very rare, considering its very good conditions. For W. Peacock see 'Der Neue Stöckel', vol. II, page 927. length 75 cm.
dating: Early 19th Century provenance: England, Smoothbore, iron, two-stage barrel, octagonal at the first part with mark 'D&S' or 'B&S' and other marks of the test bench, then round, after a frame, the nozzle with circular bell-mouth. Provided with an iron spring bayonet with action button on the engraved tang and wedge screw on the foresight. Flintlock with remains of signature, probably 'SUTHERLAND', provided with safety, anti-friction and watertight systems. Wooden full stock with brass mounts partially engraved with floral motifs. Brass-tipped wooden ramrod. length 81 cm.
dating: First half of the 19th Century provenance: Georgia, Flat, curved, single-edged blade (pitting and areas with damages from rust), made of very fine damask, a gold cartouche with inscription in Arabic language on the right side. Brass quillon with 'S'-quillons ending in rosettes and engraved with a house featuring a half-moon on the roof and floral motifs. Hilt with angled pommel (damages) made of enameled copper-inlaid, engraved and partially enameled with cartouche featuring the same inscription and motifs as the one on the quillon. Wooden scabbard covered with leather sewn with a metallic thread, copper mounts decorated en suite, also with birds and remains of gilding. Two suspension rings. It is surely worth an adequate restoration. length 89 cm.
dating: Second half of the 18th Century provenance: Lucca, Smoothbore, two-stage barrel. Octagonal at the first segment, with longitudinal risers at the corners and marks with remains of gilding. Round at the second part, 11.7 mm cal at the nozzle. Flintlock with flat plate, signed 'PIETRO TOMASI' inside. Working mechanism, needs a little revision. Wooden full stock (re-attached at the front). Brass mounts. Dorsal escutcheon, butt plate with embossed leaves. Ramrod with a breakage. For Pietro Tommasi (Tomasi) see 'Repertorio Storico degli Archibugiari Italiani' by B. Barbiroli, p. 513: Fire striker maker from Stazzema (Lucca, Tuscany), documented from 1760 to 1794; several pairs of pistols manufactured by him can be found in private collections. length 23,5 cm.
dating: Mid 19th Century provenance: Papal States, Beautiful, straight, single-and false-edged blade, flat at the first part and then with double fuller, the flat part finely engraved with trophies, flowers and the motto 'VIVA PIO IX', bronze hilt with flat guard, partially decorated with floral motifs, long cap shaped as a lion's head, remains of gilding, horn hilt with metal wire binding; iron scabbard with two lugs and bronze mounts with remains of gilding. length 96.5 cm.
dating: First half of the 19th Century provenance: India, Slightly curved, single-and false-edged blade, in damask, right side with marks and stamps; beautiful, iron hilt, partially gilded with floral motifs, typical disk-shaped pommel, with a long beak. Lined with fabric inside. length 95 cm.
dating: Mid 19th Century provenance: Naples, Smoothbore, two-stage, 17 mm cal barrel, octagonal at the first part and with the Royal Factory mark and 'DP' mark under the crown among gold-inlaid crosses and lilies, then round after a ring and acanthus leaves; finely engraved tang; partially engraved lock converted to percussion. Wooden full stock (small missing part) with checkered butt and engraved iron mounts in the style of the Empire, trigger guard with a beautiful trophy of arms, the butt-plate decorated in a similar way. Belt hook. Horn-tipped, wooden ramrod (small missing parts) with iron cartridge extractor. length 31 cm.
dating: Mid 19th Century provenance: North Africa, Fine, smoothbore, three-stage barrel, octagonal at the first part and then with two round segments and with extremely bell-mouthed muzzle, decorated with silver and gold motifs all over its length, the base with two marks of the (probably English) test bench. Flintlock with plate decorated with floral motifs. Wooden full stock with sculpted and checkered butt, decorated with silver- and brass-inlaid flora motifs. Engraved brass mounts. Belt hook and fake, iron ramrod. length 43 cm.
dating: First half of the 16th Century provenance: Venice, Wide, straight, double-edged blade with triple groove at the center, the first part with 'X'-shaped marks divided by a dash, slightly-reduced ricasso and provided with a Venetian marks. Iron hilt with raised quillon block ribbed at the center, one quillon ribbed towards the blade on the side of the flat loop-guard, the other quillon curved towards the blade, curled edges. Interesting, round pommel with ribbed center and two round carvings near the top. Probably antique, wooden hilt, with no covering. Rare type. length 89.9 cm.
dating: Mid 19th Century provenance: Naples, Smoothbore, two-stage barrel made of damask, octagonal at the first part with gold marks of Mazza and of the Royal Factory among lilies and under a cross, then round and with a swallow-tailed foresight. Slightly engraved tang with sight. Carved and engraved miquelet lock, signed 'S. MAZZA'. Wooden stock with checkered palm rest and handle, brass mounts. Brass-tipped, wooden ramrod. For Salvatore Mazza see 'Repertorio Storico Degli Archibugiari Italiani dal XIV al XX Secolo', by Barbiroli, pag. 360. length 134 cm.
dating: circa 1600 provenance: Italy, Straight, double-edged blade with a deep groove at the base featuring inscriptions (not clearly legible), the ricasso marked on one side 'ANTONIO' and on the other 'PICININO' with mark, grooved edge. Iron hilt (various restorations) with double valve decorated with a ray and double lines (small missing parts in the rear valve), with three side rings, quillon with 'S' quillons, three loop-guards. The pommel is probably ancient, but restored and not pertinent (it was faceted at first, and then lined to look like an oval). Wooden hilt covered with metal wire binding (later). length 131 cm.
dating: circa 1800 provenance: Spain, Smoothbore, two-stage, 18 mm cal. barrel, the first part octagonal with frame at the base, with gilded mark 'AGUIRRE' under crown between lilies and under cross, after fine acanthus engravings with remains of gilding; engraved tang; miquelet lock with scarcely legible mark, engraved with floral motifs. Wooden stock with strongly curved butt, with iron mounts engraved en suite, trigger guard with mark 'AGUIRE'. Iron ramrod. length 34 cm.
dating: about 1870 provenance: Europe, Rifled, two-stage, 11 mm cal barrel (bore with light pitting, clearly visible rifling), octagonal at the first part and then round, browned, with bayonet on the right side featuring remains of wedge screw and opening rest; backwards spring lock. Lower opening lever. Wooden butt with smooth iron mounts. length 105.5 cm.
dating: second quarter of the 17th Century provenance: Italy, Double-edged blade of lozenge section, grooved at the first part and with engraving 'NON TI FIDAR DI ME SE IL COR DI MANCA'. Iron hilt, the cup richly carved and pierced with eight busts inside cartouches and among floral motifs. Smooth counter-plate. Quillon with straight quillons, carved with floral bands alternating to smooth bands ending in buds; loop-guard en suite. Disk-shaped pommel, deeply carved with floral motifs. Wooden grip covered with wire binding and iron-wire moor's heads. length 124 cm.
dating: 18th Century provenance: France, Straight blade of hexagonal section, engraved at the first part and partially gilded with the motto 'ne me tire pas sans raison - ne me remette point sans honneur' among geometrical motifs. Solid hilt made of gilt brass richly engraved with rocaille and provided with parry wuillon. length 82 cm.
dating: about 1870 provenance: Eibar, Smoothbore, swiveling, two-stage, 18 mm cal barrel (bore with light pitting), octagonal at the first part and finely engraved with floral motifs with gold frame, gold signature 'F.A DE JOSE ARANGUREN EN EIBAR', then round, after rings, with foresight, decorated en suite with the base; engraved tang; richly engraved and gilded miquelet lock, hammer shaped as a dog's head. Receiver and mounts decorated en suite. Catalan-style wooden butt with checkered fore-end (a small missing part on one side of the lock); lower lever to open the barrel. The receiver with a cartouche featuring the monogram 'UC'. Horn-tipped, wooden ramrod. Rare. length 110 cm.
dating: mid-17th Century provenance: Germany, Rifled, octagonal, 15 mm cal. barrel, bell-mouthed toward the nozzle, engraved and gilt with floral motifs at the first part and the nozzle, the owner's name 'W.C.V. KLENGEL OBRISTER' at the centre, all on blued background, blued, adjustable rear-sight and gilt foresight; tang decorated en suite; beautiful lock, inside wheel covered by a polychrome enamelled disk depicting trophies, flat plate engraved and gilt with warrior, trophies and floral motifs, the hammer and the plate at the same level, pan cover with spring button hidden behind a flower; dark, walnut full stock, decorated with finely engraved bone plaques, at the counter-plate the effigy of a war camp, soldier with war mace and halberd near a cannon among curls and flowers; at the left side another warrior over a large trophy, at the base tents and cannon; another trophy at the right, bone patchbox cover with trophy, more small plaques at the nozzle; semi-clear, smooth butt-plate, anatomic iron trigger guard, pierced, gilt iron base, leaf-shaped trigger, set trigger. Bone-tipped wooden ramrod with iron base. Some restorations. The name W.C.V. Klengel Obrister on the barrel corresponds to the name of the owner of this beautiful rifle. An Obrister (Oberster Feldhauptmann) was chief of a regiment of 4000/5000 soldiers in the 16th Century Germany. Wolf Caspar von Klengel (Dresden 8h of June 1630 - 10th of January 1691) was architect and engineer with the grade of artillery colonel. Klengel is considered as a founder of the Saxonian baroque architecture and was art-historically a most important Saxonian architect of the 17th Century. He was upper agriculture master and upper supervisor of the civilian and military buildings under the Saxonian cure prince Johann George II. Literature: 'Wolf Caspar von Klengel' by Günter Passavant, Deutscher Kunstverlag München, 2001.The weapon is attributed to Christian Herold, gunsmith of Prince Johann George II of Saxony. The Dresden Museum keeps other weapons by the gunsmith. The Dresden Armory keeps also an armour which used to belong to Wolf Caspar von Klengel. length 116 cm.
dating: Mid 19th Century provenance: Turkey, Smoothbore, round, two-stage, 12 mm cal barrel, the first part with a very short rib completely engraved with flowers on a dark background with remains of gilding, the second part engraved with a beautiful golden trophy and provided with a front sight; tang engraved and with sight. Lock converted to percussion with forward spring engraved with flowers, hemmer with fish. Wooden full stock slightly sculpted and with filigree inlays (small missing parts). Beautiful silver mounts in relief depicting trophies, crescent moon, lion's head and floral motifs. Wooden ramrod, with no tip, with iron cartridge extractor. length 36 cm.
dating: Second half of the 18th Century provenance: Brescia, Smooth, two-stage, 11 mm cal. barrel, octagonal at the first part marked with lilies and engravings at the edges, then round. Engraved tang. Slightly-carved lock signed 'G.B. ZUGNO'. Wooden full stock (with a broken part under the barrel), slightly sculpted. Steel mounts finely carved with floral motifs in bas-relief. Replaced ramrod. In patina. Fine pistol easy to restore. length 38 cm.
dating: first quarter of the 19th Century provenance: Turkey, Iron, smooth-bore, round, 16 mm cal. barrels, with octagonal breech, remains of antique finishing. Tangs foiled in gilded silver. Flintlocks with flat plate, outlined and with small engravings. Cocks shaped as swan's neck, decorated en suite. In working order. Elegant, gilded silver stocks, in excellent state of conservation. The surface is richly carved with floral motifs in relief, on a grained ground and adorned with nielloed floral drawings. A big vase in the lower part, ending in a nielloed flower, shells in relief in various points. An effigy of a character on the back, with a head covered with turban and surmounted by a double axe. Grips carved with twisted bands. Butt-plates with a turban. Silver trigger-guards with nielloed flowers. Typical false ramrods, all embossed and enriched with small, decorative elements. The drawings present in the front part of the stock perfectly continue on the long, silver barrel brackets. Rare pistols both for the high quality of the mounts and for the excellent conditions. length 47 cm.
dating: 1862 provenance: England, Round, rifled, 14,5 mm cal. barrel, (clean bore, visible rifling), with short rib at the base, various marks, adjustable rear sight and foresight; forward spring lock marked '1862 TOWER', with crown and outlined edge, full wooden stock with rare stamp of '(Primera) Repubblica Español' with a hat inside, near an inlaid heart. Brass and iron mounts, iron ramrod. Very rare, the First Spanish Republic lasted only from 11 February 1873 to 29 December 1874. length 135 cm.
dating: Second half of the 18th Century provenance: Tuscany, Smooth, two-stage, 9 mm cal. (a rare caliber for such a pistol) barrel, octagonal at the first part with stamp probably depicting a horse, then round after rings. Slightly carved, snaphaunce flintlock. Wooden stock, slightly sculpted with breaks and small missing parts (easily restorable). Elengant, brass mounts, partially decorated with floral motifs. Wooden ramrod with cartridge extractor. It is worth a proper restoration. length 37.5 cm.
dating: Mid 19th Century provenance: London, Smoothbore, round, 22 mm cal barrel, a short rib at the first part signed 'HOLLAND AND HOLLAND LONDON', engraved, narrow and square base, front sight; engraved tang; forward spring lock finely engraved with floral motifs; wooden half stock with checkered palm rest and handle. Horn fore-end cap. Iron mounts decorated en suite. Manufactured without ramrod. length 129.5 cm.
Calavera' (Skull), publication for the Día de Muertos (Day of the Dead). Engraving on paper. Mexico. Dated 1905. "La Tronante Calavera de las Campanas Modernas" (The thundering skull of the modern bells) 40 x 29,5 cm. An engraving printed on both sides by the A. Vanegas Arroyo printing press, in Mexico, 1905. It includes a large illustration and facsímile signature by José Guadalupe Posada (Aguascalientes, Mexico, 1852 – Mexico City, 1913). This engraving was part of a collection of works of just over 70 loose sheets published by the Antonio Vanegas Arroyo Printing Press (Puebla, 1852 - Mexico City, 1917) between 1880 and 1920, according to Nina Hasegawa (2017), in her study for the Faculty of Foreign Studies at Sophia University (in Tokyo, Japan). Hasegawa explains that such prints, known as 'calaveras' (skulls), were produced and sold for general consumption only during the popular Mexican festival of the Day of the Dead. According to the professor, "they have existed since the dawn of Independence and […] the first to produce and sell them in Mexico City was Fernández de Lizardi (1776-1827)", with 'calaveras' without illustrations and with texts in prose, although "the most famous are those produced and sold by the Vanegas Arroyo Press since 1880", from among which our print came. Posada was, together with his teacher Manuel Manilla (Mexico, c. 1830 - 1895), the main illustrator working for Vanegas Arroyo. Manilla had been his trusted illustrator until Posada arrived in the Mexican capital in 1888, the year of the editorial’s first 'calavera'. His famous "Calavera Catrina" stands out among his multiple illustrations. Bibliographic reference: - Hasegawa, N. (2017). "Las 'Calaveras' de Vanegas Arroyo". Bulletin of the Faculty of Foreign Studies, Sophia University, No.52. https://dept.sophia.ac.jp/fs/_fstest/wp-content/uploads/2018/04/05Nina-HASEGAWA.pdf
Gilberto Corbi (Casinos, Valencia, 1906 - Suresnes, France, 1968)"Mujer con su bufanda" (Woman with her scarf)Ink and gouache on paper. Signed and dated 1927. 26,5 x 17,5 cm."¿Los Zarco? 25 ptas" is written on the back in pencil.Gilberto Corbi was an illustrator and caricaturist who was persecuted and exiled. He created logos, including the one used by the Socialist Party of Spain from the end of the Spanish Civil War until 1976, both in Spain and in exile. In the refugee camp at Argelès-sur-Mer, as was the case in other camps, a type of protest publication known in French as "presse de sables", arose. Twelve refugees from camp No. 8 published fifteen handmade copies of the magazine "Barraca" in June 1939. Gilberto Corbi was one of them, along with José Atienza Toledo, Carlos Conesa Viñas and Gumersindo Sainz de Morales, among others. At the end of June, 1939 they were authorized to move to Mas de l'Abat, in lands belonging to Valmy Castle, where they edited five more issues of the magazine, creating twenty copies of each.The first publication begins with an article entitled "Nuestra barraca" (Our shack), by José Atienza with illustrations by Corbi and Conesa.Further on, another article stands out, "Nosostros" (Us), with a brief biographical note and caricatures of each one of the authors and artists of the magazine, drawn by Carlos Pestaña. We have reproduced the one dedicated to our painter below: "Corbi, Gilberto. 32 years old. Valencian! What else? Countryman of Sorolla, Benlliure, Blasco Ibáñez. Colourist by obligation, by birth and by region. He has a life sentence of painting!"In this same 45-page magazine, there are two other illustrated articlesby Corbi: "Notas de Carnet" (Notes from a Notebook), by José Amic, "Amichatis" and, lastly, a poem by Atienza about the suffering of the Spanish mother, with the drawing entitled "Dolor", (Pain).The illustrations by a Corbi who was persecuted, exiled for his ideas and deprived of liberty in a refugee camp contrast starkly with our drawing, which we dare to describe as fresh, light, avant-garde, modern, light-hearted, and immersed in the creative freedom that the 1920s brought to the world.Undoubtedly, art, which is so necessary, looks for ways to express itself under any conditions.For further information, please refer to the following website: https://www.memorial-argeles.eu/fr/1939/1939-1ere-periode-fevrier-mars-1939/documents/les-revues-du-camp.html
Oil on canvas. Framed measurements: 95 x 132 cm. Canvas measures: 80 x 116 cm. Saint Francis of Assisi (in Italian San Francesco d'Assisi, born Giovanni di Pietro Bernardone; Assisi, 1181 and also known as "Father Francis" and founder of the Franciscan Order and the Poor Clare Sisters. He stands out as one of the great figures of spirituality in the history of Christianity. He was the son of a wealthy city merchant in his youth, went on to live under the strictest poverty and observance of the Gospels. In Egypt he unsuccessfully tried to convert Muslims to Christianity. religious life was austere and simple, so he encouraged his followers to do the same Francis is the first known case in history of visible and external stigmatization.
Collection of great British and world stamps, including two penny blacks one red and one black MX cancel, 1840 penny blue and other two penny blues, bantams, other Queen Victoria issues, first day covers, Brazil, Canada, Ceylon, Denmark, Germany, India, Pakistan, Iraq, Jamaica, Malaya, Malta etc, housed in various albums and loose, in two boxes
VLADIMIR VELICKOVIC (1935-2019)Pad II (Chute n° 2) 1964 signé et daté 1964. VII ; signé, titré et daté 1964. VII au revershuile et détrempe sur toilesigned and dated 1964. VII ; signed, titled and dated 1964. VIIoil and distemper on canvas 204 x 170 cm. 80 5/16 x 170 in.Footnotes:Cette œuvre est accompagnée d'un certificat signé par l'artiste.ProvenanceGalleria Galatea, TurinAcquis auprès de celle-ci par le propriétaire actuel circa 1985ExpositionSaint Marin, Ve Biennale Internationale d'art Contemporain, 1965BibliographieNoël Bernard et Alin Avila, Velickovic, peinture 1954 > 2013, Paris 2013, p. 53, illustré en couleurs (reproduit à l'envers et titré Pal)Peinte en 1964, Pad II (Chute n° 2) est un exemple parfait de l'art de Vladimir Veličković. Ancrées dans l'histoire personnelle de l'artiste concerné par l'expression du corps humain, les terreurs de la guerre agissent comme un thème central tout au long de sa carrière. Né à Belgrade en 1935, l'artiste a été élevé en Yougoslavie sous l'occupation nazie et a été témoin de la souffrance et de la violence humaine dès sa plus tendre enfance, dans un pays davantage ravagé par les conflits ultérieurs remodelant le paysage géopolitique de la région. Une expérience directe de la guerre et un intérêt pour le sujet du corps en mouvement l'ont conduit à explorer la forme humaine et animale, à laquelle il revient sans cesse dans son œuvre. Par l'utilisation audacieuse des couleurs prédominantes que sont le rouge, le blanc et le noir, il exprime une matérialité déchirée par le conflit et des motifs tels que les barrières frontalières rayées, récurrentes dans ses œuvres les plus emblématiques. La Chute, qui désigne un scénario d'effondrement, un titre qui évoque la chute de l'Homme, ainsi que celle du roman éponyme d'Albert Camus, paru en 1956.Architecte de formation, Veličković a consacré sa vie à la peinture, son succès à la Biennale de Paris de 1965 et l'obtention du premier prix l'ayant conduit à un séjour en France qui a duré 60 ans. Aux côtés de Dado et Ljuba, il est l'un des trois peintres de renom d'origine yougoslave qui se sont installés à Paris à cette époque. Son exposition à la Galerie du Dragon en 1967 lance sa carrière dans la capitale française. Plus tard, il a été décoré des titres de Chevalier de la Légion d'Honneur et de Commandeur des Arts et Lettres, ce qui lui a valu une reconnaissance supplémentaire. Etant l'un des artistes les plus célèbres du mouvement de la Figuration Narrative, l'art de Veličković a été reconnu internationalement et ses œuvres font partie de prestigieuses collections institutionnelles telles que le Musée royal des Beaux-Arts de Bruxelles, le Centre Pompidou de Paris et le MOMA de New York.Painted in 1964, Pad II (Chute n° 2) is a prime example of Vladimir Veličković's art. Concerned with the expression of the human body and rooted in the artist's personal history, the terrors of war act as a central theme throughout his career. Born in Belgrade in 1935, the artist was brought up in Nazi-occupied Yugoslavia and from an early childhood, he witnessed human suffering and violence, amidst the backdrop of a country further ravaged by subsequent conflicts which continued to reshape the geopolitical landscape of the region. A first-hand experience of war and an interest in the subject of the body in movement led to his exploration of the human and animal form, which he returns to over and again in his oeuvre. Through his bold use of the predominant colours of red, white, and black, he expresses a physicality torn by conflict and motifs such as the striped frontier barriers recurrent in his most iconic works. La Chute, translated as The Fall, which denotes a tumbling, crumbling scenario, is a title further evocative of the fall of man, as well as that of Albert Camus's seminal 1956 novel of the same title.Veličković a trained architect, dedicated his life to painting, with his success in receiving the top prize at the 1965 Paris Biennial leading to a stay in France that lasted 60 years. Alongside Dado and Ljuba, he is one of the renowned Yugoslavian painters who settled in Paris in this period. His exhibition at the Galerie du Dragon in 1967 launched his career in the French capital. He was later awarded the prestigious Chevalier de la Légion d'Honneur and the Commandeur des Arts et Lettres, earning him further recognition. As one of the Narrative Figuration's movement most celebrated artists, Veličković's art has been recognised internationally and his works are held in prestigious institutional collections such as the Royal Museum of Fine Arts in Brussels, the Centre Pompidou in Paris, and New York's MOMA, amongst others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ASGER JORN (1914-1973)Douleur silencieuse 1960 signéhuile sur toilesignedoil on canvas61.5 x 90 cm. 24 3/16 x 35 7/16 in.Réalisé en 1960.Footnotes:Cette œuvre est enregistrée dans les archives du Museum Jorn, Silkeborg. Provenance Galerie Ariel, ParisCollection particulière, EuropeVente : Christie's, Amsterdam, Post War and Contemporary Art, 15 mai 2012, lot 2 Die Galerie, FrankfortAcquis auprès de celle-ci par le propriétaire actuelExpositionRome, La Medusa, Studio d'Arte Contemporanea, Asger Jorn, opere scelte dal 1950 al 1960, 1961BibliographieM. Ragon, Asger Jorn, Cimaise, art et architecture actuels, N° 51, Paris 1961, p. 54, illustré en noir et blancG. Atkins, Asger Jorn, the crucial years 1954-1964, Paris 1977, n° 1260, n.p., illustré en noir et blancAsger Jorn est un des plus importants artistes danois du XXe siècle. En 1936, il arrive à Paris et intègre l'atelier de Fernand Léger puis collabore au décor du Pavillon des Temps Nouveaux à l'exposition universelle sous la direction du Corbusier. Il retourne au Danemark pendant la guerre et apprend les leçons des grands maîtres de l'abstraction tels que Vassily Kandinsky, Paul Klee ou encore Joan Miro avant de revenir en France en 1947. En 1948, il devient le membre fondateur du mouvement Cobra dont il sera le théoricien. Cette année marque également sa première exposition personnelle à Paris à la galerie Breteau. Entre les années 1950 et 1960, il joue un rôle fondamental dans plusieurs mouvements d'Avant-Garde : Le Mouvement International pour un Bauhaus imaginiste (1953-1957) et l'Internationale situationniste (1957-1960). Cet engagement à la fois intellectuel et artistique démontre sa personnalité combattive et insatiable. En effet, il se battra toute sa vie pour la liberté totale de l'art. Cette œuvre est emblématique de la spontanéité et la liberté si chères au cœur de Jorn. Une liberté qui transparait par une peinture vive, intense et colorée exprimant la violence, le désespoir de ce monde. Un an après sa réalisation, cette œuvre est reproduite dans le numéro 51 de Cimaise, revue de référence consacrée à l'actualité de l'art contemporain écrite par Michel Ragon, critique d'art et ami de Jorn. En 1961, cette œuvre est aussi exposée à Rome à Lo Studio D'Arte La Medusa lors d'une exposition consacrée aux œuvres de Jorn entre 1950 et 1961. Cette œuvre à l'image de son auteur a sillonné et séduit le marché de l'art.Asger Jorn is regarded as one of Denmark's most influential artists of the twentieth century. In 1936, he arrived in Paris and joined Fernand Léger's studio, then worked on the décor of the New Times Pavilion at the Universal Exhibition under the direction of Le Corbusier. He returned to Denmark during the war and learned from the great masters of Abstract Art such as Vassily Kandinsky, Paul Klee and Joan Miro before returning to France in 1947. In 1948, he became a founding member of the Cobra movement, of which he was the theoretician. This year also marks his first solo exhibition in Paris at the Breteau Gallery. Between the 1950s and 1960s, he played a fundamental role in several Avant-Garde movements: the International Movement for an Imaginative Bauhaus (1953-1957) and the Situationist International (1957-1960). This commitment, both intellectual and artistic, demonstrates his strong-minded and proactive personality. Indeed, he will fight for absolute artistic freedom throughout his life. This artwork is emblematic of the spontaneity and freedom so dear to Jorn's heart. A freedom that manifests through in a lively, intense and colourful painting that expresses the violence and despair of this world. A year after its creation, this piece was reproduced in issue 51 of Cimaise, a reference review of contemporary art written by Michel Ragon, art critic and friend of Jorn. In 1961, this work was also displayed in Rome at Lo Studio D'Arte La Medusa in an exhibition devoted to Jorn's work between 1950 and 1961. This work, just like its author, has travelled and seduced the art market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
MIRKO BASALDELLA (1910-1969)Idolo 1960 bronze sur base en pierrebronze on a stone baseBronze : 50 x 17 x 19 cm. Bronze : 19 11/16 x 6 11/16 x 7 1/2 in. Réalisée en 1960, cette œuvre est unique.Footnotes:Cette œuvre est enregistrée sous le n° 0095 auprès de l'Archivio Corrado Cagli (représentant l'artiste Mirko Basaldella), Rome ; un certificat de l'Archivio Corrado Cagli sera remis à l'acquéreur.ProvenanceCollection de l'artiste, RomePuis par descendance au propriétaire actuelExpositionNew York, World House Galleries, Solo Exhibition, 1961Ce rare ensemble de deux sculptures et d'un tableau de Mirko Basaldella, provenant directement de la famille de l'artiste, est pour la première fois présenté au public et à la vente.Né en 1910 à Udine, Mirko Basaldella grandit dans une famille d'artistes et étudia à l'Académie des Beaux-Arts de Florence. En déménageant à Rome en 1933, il rencontra alors des artistes tels que Léoncillo et Corrado Cagli (il épousa sa sœur Serena) dont nous présentons une œuvre. En 1935, sa première exposition personnelle a lieu à la Galleria La Cometa à Rome. L'année suivante, il fut invité à représenter la Scuola Romana à la Biennale à la Venise.Au début des années 1950, il se rend aux États-Unis avec d'autres artistes italiens et eut une exposition personnelle à la célèbre galerie newyorkaise Catherine Viviano.En 1957, il fut nommé à la direction des Ateliers de Conception au Carpenter Center for the Visual Arts de l'université de Harvard de Cambridge au Massachusetts jusqu'à sa mort en 1969. This rare set of two sculptures and a painting by Mirko Basaldella, coming directly from the artist's family, is presented to the public and for sale for the first time.Born in 1910 in Udine, Mirko Basaldella grew up in a family of artists and studied at the Academy of Fine Arts in Florence. When moving to Rome in 1933, he met artists such as Leoncillo and Corrado Cagli (he later married his sister Serena) and whose work we present in this sale. In 1935, his first solo exhibition took place at the Galleria La Cometa in Rome. The following year he was invited to represent the Scuola Romana at the Biennale in Venice.In the early 1950s he travelled to the United States with other Italian artists and had a solo exhibition at the famous New York gallery Catherine Viviano.In 1957 he was appointed director of the Design Workshops at the Carpenter Center for the Visual Arts at Harvard University in Cambridge, Massachusetts until his death in 1969.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
JOANA VASCONCELOS (Née en 1971)Love in a Box 2015 carreaux peints, laine, perles en acrylique, polyester, contreplaqué, ferpainted tiles, wool, acrylic beads, polyester, plywood, iron226 x 123 x 46 cm. 89 x 48 7/16 x 18 1/8 in. Réalisé en 2015.Footnotes:ProvenanceAcquis auprès de l'artiste par le propriétaire actuelExpositionsToulon, Hôtel Départemental des Arts, Joana Vasconcelos. Exagérer pour inventer, 2018, p. 51, illustré en couleurs Wakefield, Yorkshire Sculpture Park, Beyond, 2020 - 2022, p. 11, illustré en couleursBibliographieDanilo Eccher, LOVE. L'arte contemporanea incontra l'amore., Milan 2016, p. 291, illustré en couleursNée à Paris, en 1971, c'est à Lisbonne que Joana Vasconcelos suit des études d'arts visuels à l'Ar.Co entre 1989 et 1996. Elle remporte de nombreux prix comme le prix jeunes artistes EDP en 2000, le Tabaqueira Fonds pour l'Art Public en 2003 ou encore le prix de la Fondation Berardo en 2006. En 2012, elle est la première artiste femme invitée à exposer dans le château de Versailles, puis, en 2013, représente le Portugal à la Biennale de Venise. Plus récemment en 2018, le musée Guggenheim de Bilbao a accueilli l'exposition Joana Vasconcelos. Je suis ton miroir, présentant une sélection exceptionnelle de 30 œuvres comprenant des œuvres monumentales et inédites.Artiste engagée, Joana Vasconcelos développe une œuvre politique, engageant une réflexion autour de la domesticité, de l'égalité des sexes et de la société de consommation. Détournant les objets du quotidien et en les associant parfois à l'artisanat, le savoir-faire portugais, elle offre des sculptures, des installations et des monuments qui prennent souvent place dans l'espace public. Love in a Box, réalisée à partir de carreaux de céramiques faits à la main par l'usine Viúva Lamego s'inscrit dans la tradition des azulejos qui ornent les murs de Lisbonne et que l'on retrouve notamment dans les cuisines. Les carreaux forment une fenêtre, leur surface est froide et dure. Ils sont néanmoins transpercés par des fils de laine souples à la texture douce et chaude. Ce contraste saisissant entre les matières et la disposition traversante des éléments annonce une implosion : la fin de l'enfermement des femmes dans leurs taches domestiques et l'égalité des sexes.Cette œuvre a été récemment exposée en Angleterre au Yorkshire Sculpture Park de Wakefield lors de l'exposition Beyond entre 2020 et 2022 mais également en France, à l'Hôtel Départemental des Arts de Toulon en 2018 lors de l'exposition personnelle : Joana Vasconcelos. Exagérer pour inventer. On retrouve les œuvres de Joana Vasconcelos dans les collections permanentes de nombreuses institutions muséales mondiales : National Museum of Women in the Arts à Washington, D.C aux Etats-Unis ; Museo de Arte Contemporáneo de Castilla y León en Espagne ; Amorepacific Museum of Art – à Séoul en Corée du Sud ; et le Musée d'Art Moderne et Contemporain de Strasbourg en France.Son activité sera de plus en plus prédominante dans le paysage culturel européen comme en témoigne le calendrier de ses prochaines expositions. Dans le cadre la saison culturelle France-Portugal, Joana Vasconcelos sera à l'honneur dans notamment deux manifestations d'envergure : Arbre de vie à Paris à la Sainte-Chapelle de Vincennes, Jardin d'Eden à la Maison Folie de Wazemmes de Lille ainsi qu' une installation de la série des Valkyries pour la gare de Lille-Flandres. Au Royaume-Uni, le Waddesdon Manor accueillera également une commande spéciale Wedding Cake pour la Rothschild Foundation.L'engouement international des institutions privées et publiques pour les œuvres de Joana Vasconcelos témoigne de l'importance de cette artiste qui ne cesse de se renouveler dans des créations engagées et saisissantes.Born in Paris in 1971, Joana Vasconcelos did her studies in Lisbon in visual arts at Ar.Co between 1989 and 1996. She won numerous prizes, including the EDP Young Artists Prize in 2000, the Tabaqueira Fonds for Public Art in 2003, and the Berardo Foundation Prize in 2006. In 2012, she became the first woman to be invited to exhibit at the Palace of Versailles, before going on to represent Portugal at the 2013 Venice Biennale. In 2018, the Guggenheim Museum Bilbao hosted the exhibition Joana Vasconcelos. I'm your mirror, presenting an exceptional selection of 30 works including monumental and unseen works. A socially engaged artist, Joana Vasconcelos has developed a politically orientated work, dealing with themes such as domesticity, gender equality and the consumer society. Transforming and reappropriating everyday objects, sometimes linking them to Portuguese artisan techniques, her practice includes sculptures, installations and monuments present in public spaces.Love in a Box made from ceramic tiles handmade by the Viúva Lamego factory hails to the tradition of the azulejos that adorn the walls of Lisbon, notably in the kitchens. The tiles form a window, their surface is cold and hard. Yet here, they are pierced by supple woolen threads of a soft and warm texture. This striking contrast between the materials and the cross-over layout of the elements announces an implosion: the end of the imprisonment of women in their domestic tasks in a move towards gender equality. This work was recently exhibited in England at the Yorkshire Sculpture Park in Wakefield during the Beyond exhibition between 2020 and 2022, before being featured in France at the Hôtel Départemental des Arts in Toulon in 2018 for her solo show Joana Vasconcelos. Exagérer pour inventer.The works of Joana Vasconcelos are present in the permanent collections of many museums across the globe, including the National Museum of Women in the Arts in Washington D.C. in the United States, Museo de Arte Contemporáneo de Castilla y León in Spain, the Amorepacific Museum of Art in Seoul, South Korea and the Museum of Modern and Contemporary Art of Strasbourg in France.Her work is taking a predominant place in the European cultural landscape, as evidenced by her upcoming exhibitions. As part of the France-Portugal cultural season, Joana Vasconcelos's work will be featured in two major cultural events: Arbre de vie in Paris at the Sainte-Chapelle de Vincennes, Jardin d'Eden at the Maison Folie de Wazemmes in Lille as well as an installation from the Valkyries series for the Lille-Flandres railway station. In the UK, Waddesdon Manor will present Wedding Cake, a work specially commissioned for the Rothschild Foundation.The high level of enthusiasm from international private and public institutions for the works of Joana Vasconcelos testifies to the importance of this artist, who continues to renew her artistic language through socially engaged and striking creations.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
GEORGES MATHIEU (1921-2012)Exil de Go Daïgo dans l'île d'Oki1957 signé, daté 1957 et inscrit Tokyohuile sur toilesigned, dated 1957 and inscribed Tokyooil on canvas 181 x 362 cm. 71 1/4 x 142 1/2 in.Footnotes:Cette œuvre est accompagnée d'un certificat d'authenticité du Comité Georges Mathieu. (https://georges-mathieu.fr/)ProvenanceCollection Jiro Yoshihara, JaponCollection particulière, JaponNaoto Kiyooka Fine Art Inc., TokyoAcquis auprès de celle-ci par le propriétaire actuelExpositionsTokyo, Shirakiya Department store, George Mathieu Exhibition, 1957Osaka, Daimaru Department Store, Mathieu, 1957Osaka, Gutai Pinacotheca, Gutai Pinacotheca Opening Celebration Exhibition, 1962Osaka, Gutai Pinacotheca, New Art from Abroad, 1966Osaka, Musée National d'Art Osaka, Action et Emotion, Peintures des Années 50 : Informel, Gutai, Cobra, 1985, p. 76, illustré en noir et blancOsaka, Museum of Osaka University, Special Exhibition : the Era of Avant-Garde Osaka, 2013BibliographieSetsuya Hashizume, Special Exhibition : the Era of Avant-Garde Osaka, (brochure), 2013, illustré en noir et blancSetsuya Hashizume et Mizuho Kato, The Era of Osaka Avant-garde Art, Osaka 2013, p. 24, illustré en couleurs; p. 75 et 85, illustré en noir et blanc«Exil de Go Daïgo dans l'île d'Oki est non seulement une œuvre qui témoigne de fervente manière du célèbre voyage de Mathieu au Japon en 1957 et plus largement de la calligraphie abstraite développée par le Maître dans les années 1950, elle est aussi l'émouvante incarnation, de par l'identité de son premier propriétaire Jirō Yoshihara, fondateur et théoricien du mouvement Gutaï, de l'influence historique qu'a eue Mathieu sur ce mouvement, Yoshihara professant dans le manifeste de l'art Gutaï « le plus grand respect pour Pollock et Mathieu car leurs œuvres révèlent le hurlement poussé par la matière, les cris des pigments et des vernis».«Exil de Go Daïgo dans l'île d'Oki is not only a work that bears fervent witness to the famous trip of Mathieu to Japan in 1957 and more generally to the abstract calligraphy developed by the Master in the 1950s, but is also the stirring incarnation, through the identity of its first owner Jirō Yoshihara, founder and theorist of the Gutai movement, of the historical influence that Mathieu had on this movement, with Yoshihara professing in the Gutai manifesto: 'the greatest respect for Pollock and Mathieu because their works reveal the howl of matter, the screams of pigments and varnishes».Édouard Lombard, Directeur du Comité Georges MathieuNous remercions Madame Rena Kano, historienne de l'art qui a contribué aux recherches pour cette œuvre.Cette œuvre magistrale de Georges Mathieu, L'exil de Go Daïgo dans l'île d'Oki de 1957, s'inscrit dans une période charnière dans la vie de l'artiste et dans l'histoire de l'Art Informel et de l'Avant-Garde Japonaise. Cette rare œuvre est emblématique de la démarche intellectuelle et artistique de Mathieu : celle de faire rencontrer le geste, l'émotion, l'instinct et la matière. Cette œuvre est également devenue une référence pour le mouvement Gutai, en étant présentée dans les expositions les plus importantes dédiées à ce mouvement depuis la fin des années 1950. Réalisée dès son arrivée au Japon en septembre 1957 et encore dans des conditions tout à fait remarquables, elle est restée exclusivement au sein de prestigieuses collections japonaises. Elle est aujourd'hui, pour la première fois proposée en vente.Mathieu réalise le fond de cette toile par des mouvements circulaires systématiques entrainant ainsi une impression de vitesse et d'emballement du geste grâce à l'utilisation de chiffons imbibés de peinture rouge vif. Les éléments et les signes calligraphiés noirs et blancs directement appliqués au tube ou au pinceau se détachent automatiquement de ce fond. Ce choix de couleurs que l'on pourrait qualifier de primitives, cette virtuosité du geste qui transparaît dans ces lignes tantôt souples tantôt vives et saccadées apportent une puissance et une tension palpable. Cette œuvre, immortalisée dans son processus par les témoins de l'époque nous permet d'affirmer son caractère exceptionnel dès sa création.Cette œuvre est réalisée dans la salle de classe de Sōfū Teshigahara, le fondateur de l'école d'Ikebana Sogetsu-Ryu. C'est en septembre de cette même année que la Gutai Art Association expose L'exil de Go Daïgo dans l'île d'Oki dans deux grands magasins : Shirakiya à Tokyo, puis Daimaru à Osaka. Elle entre ensuite dans la collection de Jirō Yoshihara, le fondateur et « père spirituel » du mouvement Gutai. Ce mouvement signifie « concret », dans le sens de l'incarnation et place le geste et la matière au premier plan tout en initiant la performance dans l'art. Jirō Yoshihara affirme qu'il veut « créer quelque chose qui n'avait jamais existé auparavant ». Cette œuvre fut exposée également à Osaka en 1962 dans l'exposition Gutai Pinacotheca Opening Celebration Exhibition puis en 1966 dans l'exposition New Art from Abroad à Osaka. Preuve de l'intérêt pérenne et fondamental de cette œuvre, elle fut de nouveau exposée deux décennies plus tard dans Action et Emotion, Peintures des Années 50 : Informel, Gutai, Cobra en 1985, puis dans Special Exhibition : the Era of Avant-Garde Osaka en 2013. A l'occasion de cette exposition, Kato Mizuho (co-auteur du livre « Avant-Garde Art in Postwar Osaka » et professeur associé invité au musée d'Osaka, déclare que cette peinture est devenue le symbole des échanges entre les artistes Gutai et leurs contemporains étrangers.Cette toile fait référence à l'empereur Go Daïgo, qui, au XIVe siècle, essaie par deux fois de renverser le shoguna de Kamatra. Son dernier coup d'Etat échoue et ses plans sont révélés. L'armée Bakufu le défait et il est contraint à l'exil dans la province d'Oki. L'empereur Go Daïgo finit par s'échapper, reconstituer une armée, récupérer son trône et ambitionne de devenir le plus puissant dirigeant de l'Est.Il n'est pas étonnant que Mathieu ait choisi de rendre hommage à cet épisode historique du Japon. Mathieu possédait une immense culture, il était féru d'Histoire et était fasciné par les faits d'armes et la noblesse. Jean Cocteau disait de son ami « Georges Mathieu est un grand seigneur, tout ce qu'il touche devient féodal et noble. Il fait revivre dans le règne de l'art une aristocratie morte, la sienne étant mille fois plus légitime que l'aristocratie du Gotha. Mallarmé dirait 'une ari... This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
PAIR OF ROYAL CROWN DERBY IMARI TWIN-HANDLED VASES WITH COVERS,No. 1128/XL1, 42cm highFirst quality, one cover cracked, upper section very loose, other upper section loose fitting, both bodies notably loose fitting to bases, finial of other cracked, otherwise some light nicks to enamels, discolouration and wear to gilding
French school of the first half of the 19th century."Lake landscape with figures".Oil on canvas.Signed "A. Garneray" in the lower right corner.Measurements: 79 x 62 cm; 94 x 78 cm (frame).In this nineteenth-century oil painting the painter delights us with a lake landscape tinged with subtly iridescent lights, with groups of ladies enjoying a bath surrounded by leafy trees. The painting is in keeping with the bucolic style of French landscape painting at the turn of the century, although there is also a desire to capture the chromatic ranges of the sunset and the ochre qualities of the spring flora in a realistic manner. The wide panoramic view and the course of the water running into the shore give a naturalistic idea of depth and space.
FÉLIX REVELLO DE TORO (Málaga, 1926)."Still life", 1962.Oil on canvas adhered to panel.Signed and dated in the lower left corner.Measurements: 51 x 74 cm; 52 x 75 cm (frame).Revello de Toro was fond of painting already as a child, receiving his first artistic training with father Oliver, in the Jesuit school of El Palo. Later he extended his training at the School of Fine Arts in Malaga, where he was taught by Álvarez Dumond, Burgos Oms, Murillo Carreras and Bermúdez Gil. He made his individual debut when he was only twelve years old, and after completing his studies he obtained a scholarship to further his studies in Madrid. He studied at the San Fernando Academy for five years, at the end of which he was awarded the Extraordinary Fine Arts Prize and the Carmen del Río scholarship, which enabled him to study in Rome in 1951. On his return, his work began to be admired as a result of his personal exhibitions in 1953 at the Sala Macarrón and the Casino in Madrid. That same year he married and won the competitive examination to become a Fine Arts teacher in Barcelona, specifically at the La Lonja School. Years later, in 1973, he left teaching in order to devote himself fully to his painting, especially to his work as a portraitist. He painted magnificent portraits of personalities from the world of politics, culture, sport, etc., giving rise to an extensive production which is now widely recognised. His portraits of the kings of Spain stand out in this field. In 1987 he was made an honorary member of the Royal Academy of Fine Arts of San Telmo, and in 2001 he was made a favourite son of the province of Malaga. He also holds the Gold Medal of Malaga and the Medal of Honour of the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 2002 he was awarded the Medal of Andalusia. He is currently represented in the Museum that bears his name in Malaga, as well as in other public and private collections.
JUAN BAUTISTA PORCAR RIPOLLÉS, (Castellón de la Plana, Castellón, 1889 - 1974)."Flowers" 1940.Oil on canvas.Signed in the upper left corner and dated on the back.Measurements: 46 x 61 cm; 57 x 72 cm (frame).Trained with Vicente Castell, in 1906 he travels to Valencia thanks to a scholarship, and enters the School of Fine Arts of San Carlos. Four years later he settled in Barcelona, where he studied at the Escuela de La Lonja. After completing his studies, in 1915 he returned to Castellón, where he founded the Agrupación Ribalta, which focused on landscape painting. A regular at the Círculo Artístico de Sant Lluc in Barcelona, he made his individual debut at the La Pinacoteca gallery in 1918, where he continued to exhibit frequently from then on. He took part in the Barcelona International Exhibition of 1929, as well as in international competitions in Venice, Oslo, Buenos Aires and Paris. In 1954 he won the first medal at the National Exhibition of Fine Arts, an award which brought him definitive recognition. Porcar is represented in the Museums of Fine Arts in Valencia, Alicante and Castellón, the Museum of Contemporary Art in Vilafamés, the Lladró Museum and the National Theatre Museum in Almagro, among others.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Day at the beach, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this work Opisso offers us a lively popular scene, brimming with narrative. The family gathered next to the beach hut is getting ready to leave: a mother tries to put the little shoe on her little girl's shoe, another woman is fixing the ribbon tied around the little dog's neck? Each character appears individualised in attitudes, physiognomies and gestures. It is an image rich in detail and characterised by the vivacity of an author who was above all a great draughtsman and cartoonist.In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Huerto de Vilanova".Oil on canvas.Signed in the lower right corner.Size: 38 x 46 cm; 57 x 65 cm (frame).Joaquim Mir studied at the San Jordi School of Fine Arts 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. In 1893, together with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual), he founded the "Colla del Safrà" (Safrà Group) to explore together the pictorial initiatives of the end of the century. The name came from the saffron and ochre tones they used in their paintings, with which they sought to capture the Mediterranean luminosity and reject the coldness of the greys and blues of the French Impressionists. Nevertheless, they imitated the Impressionists in their taste for painting in the open air, capturing the atmospheres and types they saw. In 1896 they even took part as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works that give us a clear idea of the group's ideals: "The Rector's Vegetable Garden" and "The Orange Seller". From 1897 he also frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde met, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. 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. In 1901 he exhibited the fruit of this first Mallorcan period at the Sala Parés in Barcelona, where he 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 surrounding villages that were the protagonists of his painting. He painted the houses, the churches, the orchards, the people, the flowering almond trees, the farmyards... Unimportant subjects that were more and more in line with the reality of nature, as they only wanted to reflect his love for his land and his constant search for changes in the light. His style was no longer as expressive as in Mallorca, although his bold use of colour and stain remained. 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.
Loading...-
596772 item(s)/page