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Click here to subscribeMan of Destiny The Story of Muhammad Ali / Cassius Clay Hardback Book 1967 First Edition published by Frederick Muller Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Whiskies of Scotland by R J S McDowall Hardback Book 1967 First Edition published by John Murray some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Tommy Knockers by Stephen King Hardback Book 1988 First Edition published by Guild Publishing some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
1000 Years of Annoying The French by Stephen Clarke Hardback Book First Edition 2010 published by Bantam Press (Transworld Publishers Ltd) some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
150 Years of The Daily Telegraph 1855 2005 by C Howse Hardback Book 2004 First Edition published by Ebury Press some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Pepperfish Keys by Darryl Wimberley Softback Book 2007 First Edition published by Thomas Dunne Books some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Signed Book William Golding An Egyptian Journal Hardback Book First Edition 1985 Signed by William Golding on the Title page published by Faber and Faber Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Da Vinci's Ghost The untold Story of the World's Most Famous Drawing by T Lester Hardback Book 2011 First Edition published by Profile Books Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
A Winter in Arabia by Freya Stark Hardback Book 1941 First Edition published by Readers Union Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
From Dead to Worse by Charlane Harris Softback Book 2008 First Edition published by Gollancz (Orion Publishing Group) some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Heidi by Johanna Spyri Hardback Book 1953 First Edition published by W M Collins Sons and Co Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Adversity Advantage by Paul G Stoltz and Eric Weihenmayer Softback Book date unknown First Edition published by Fireside (Simon and Schuster) some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Life of Ian Fleming by John Pearson Hardback Book 1966 First Edition published by Jonathan Cape some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Georgians At Home 1714 1830 by Elizabeth Burton Hardback Book 1967 First Edition published by Longmans, Green and Co Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Automobile Year number 6 1958 1959 managing editor Guichard Ami Hardback Book 1960 First edition published by G T Foulis and Co Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Automobile Year number 7 1959 1960 managing editor Guichard Ami Hardback Book 1961 First edition published by G T Foulis and Co Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Automobile Year number 8 1961 1962 managing editor Guichard Ami Hardback Book 1963 First edition published by G T Foulis and Co Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Automobile Year number 9 1962 1963 managing editor Guichard Ami Hardback Book 1963 First edition published by G T Foulis and Co Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Harry Potter and the HalfBlood Prince Hardback Book 2005 First Edition published by Bloomsbury Publishing Plc some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Unknown Kingdom Portraits of Nepal and the Gurkhas by B M Niven Softback Book 1987 First Edition published by World Wide Publications some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
The Art of Invention Leonardo and Renaissance Engineers by Paolo Galluzzi 2000 Softback Book First Edition published by Giunti Gruppo Editoriale some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Chasing Ghosts by Paul Rieckhoff Hardback Book 2006 First edition published by New American Library (Penguin Books) some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ronnie Corbett And It's Goodnight from Him. Autobiography of the Two Ronnies Hardback Book 2006 First Edition published by Michael Joseph (Penguin Books) some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Fifty Amazing Stories of the Great War Hardback Book 1936 First Edition published by Odhams Press Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Interesting Concorde related items plus other pieces: Includes Corgi Concorde models boxed, Concorde travel alarm clock made to celebrate 27 years of commercial supersonic flight, Sindy British Aiways doll, boxed, from a limited edition of 10,000, Princess Diana First Day Covers, Halcyon Days large Royal Coronation globe - boxed. From the collection of an ex BA cabin crew member.
ROYAL ALBERT 'OLD COUNTRY ROSES' TEA & DINNER SERVICE, including teapot, sugar bowl, milk jug, bread & butter plate, 9 tea cups & saucers, 9 dinner, 9 entree and 9 side plates, 6 pudding bowls, gravy boat, 3 pepperettes, 2 veg tureens, butter dish, various other serving bowls/dishes (appr. 65)Comments: all first quality, 1 dinner plate broken, gilt edges worn on some plates
POTTER (BEATRIX) The Tailor of Gloucester, special facsimile edition published by Frederick Warne 2003 to commemorate the centenary of the first publication in 1903, in a presentation box with booklet, card and leather bookmark, 116 / 500Comments: covers with some spotting, also interior of box.
ASSORTED US & GB COINS comprising six American dollars dated 1884, 2 x 1921, 2 x 1923 and 1972, various Commemorative five pound coins, 1965 Canada dollar, 2013 Royal Mint 'A Timeless First' £20 silver coin, 50p coins ETCProvenance: private collection Vale of Glamorgan, consigned via our Cardiff Office
Oil on canvas, with important frame of the time. Framed measures 53 x 44 cm, canvas measures: 34 x 29 cm. It is accompanied by a comparative technical report. Exceptional discovery of the oil version "Portrait of a Young Lady" of which only the pastel version was known from a New York private collection and auctioned at Christie's in 2010. Jean-Baptiste Greuze (1725, Tournus – 1805, Paris) After studying painting at the Grandon workshop in Lyon, Greuze moved to Paris in 1750 and entered the Royal Academy of Painting and Sculpture as a student of Natoire. His popularity was confirmed by other paintings of a melodramatic nature, depicting young peasant scenes from the provinces. One of his biggest artistic supporters was Diderot; art critic gave a glowing praise of his painting for the moralism of his images. Among his greatest successes may be mentioned The Village Wedding or Acordée de village presented at the salon of 1761, where he once again shows a bourgeois rural interior. Among his outstanding works, "Father of the family explaining the Bible to his children", made in 1755, as well as also known as "The death of the paralytic" of 1763, a painting that represents an elderly father on his deathbed surrounded by of his family. This painting is related to Jean Jacques Rousseau's novel, “La nouvelle Héloïse”, published that same year. After achieving great success with the public and critics, he began to harvest history painting, a genre of higher rank within official painting. His first work in this order is the so-called Seventh-Severe. Contrary to what he was looking for, this piece was a source of conflict with the Academy, since not only was it not accepted into the competition, but it also earned him the enmity and devastating criticism of Denis Diderot. Greuze painted numerous portraits and received much criticism for his paintings of a libertine character. The French Revolution of 1789 made neoclassicism fashionable and Greuze's paintings fell out of fashion, forcing him to live off his classes as an art teacher. The portrait of Napoleon Bonaparte, which he commissioned in his last years, did not prevent him from spending his last years in poverty. Likewise, Greuze harvested the allegorical theme, being outstanding the Offering of love (1769), mythological: Danae; or also religious, such as Santa María Egipciaca. WORKS IN COMPARISON: "Portrait of a Young Lady" in pastel on paper, Christie's, January 27, 2010, lot 145. Provenance: former private collection, Spain.
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
MARINO MARINI (1901-1980)Cavalli e cavalieri signed and dated 'Marino 1970' (lower right)oil on paper39.3 x 51.1cm (15 1/2 x 20 1/8in).Executed in 1970Footnotes:The authenticity of this work has been confirmed by the Fondazione Marino Marini.ProvenanceDominion Gallery, Montreal, no. B6324 (possibly acquired directly from the artist in the 1980s).Private collection, Switzerland & UK (acquired from the above circa 1997).ExhibitedToronto, Istituto Italiano di Cultura, Marino Marini: Sculptures, paintings, drawings, 27 May – 11 July 1998.A cavalry rider of the avant-garde, Marino Marini forged a valiant artistic pathway that was in sync with the strident drumbeats of Modernity. Utilising the horse and rider as a lifelong leitmotif, Marini conveyed an exhaustive breadth of drama and emotion, scaling the divide between primeval furore and contemporary anxiety. By enunciating this classical trope with the fragmented language of his own zeitgeist, Marini engendered deep and dynamic meditations on the state of the world and man's relationship with it. Completed ten years before his passing at the age of 79, Cavalli e cavalieri represents a chapter in which Marini's horses and riders are reduced to ideas or memories. The present work therefore embodies the distilled values of a master artist who had reached the apex of his creative vision.Marini grew up in the bucolic environs of Tuscany, enveloped in sun-drenched natural landscapes dotted with the emotive frescoes of Giotto and Masaccio. He strongly identified as a descendent of the Etruscans – a tendency which manifested in the ancient and mythical qualities of his art. Marini learned the language and imagery of the early Renaissance and the international Gothic style whilst enrolled at the Accademia di Belli Arti in Florence from 1917, thence developing a personal connection with Northern European sculpture and ancient cave paintings. His travels placed him at the centre of the European avant-garde: in Paris he associated with Pablo Picasso and Giorgio de Chirico, and then in Switzerland he befriended Germaine Richier and Alberto Giacometti. The creative discourse between Marini and Giacometti resounded in their shared preferences for attenuated forms, expressive textures and rigid abstraction. After starring in the Twentieth-Century Italian Art exhibition at the Museum of Modern Art in New York (1949), Marini became ingratiated with an exciting new generation of post-war artists, among them Lyonel Feininger, Max Beckmann and Alexander Calder.The horse and rider first appeared in Marini's work in 1936, after he visited Der Bamberger Reiter, an early thirteenth century equestrian sculpture at the Cathedral of Bamberg in Germany. In Marini's first iterations of the subject, his riders and their steeds possess elongated physiques, their poses calm and formal. By 1940, they evolve into more squat, simplified, archaic forms. After the Second World War, the horses often have their mouths open in silent screams, their ears pinned back in ecstasy or anguish. Indeed, Marini had witnessed true atrocities under the Italian fascist regime, including watching terrified peasants fleeing from armed forces on horseback. In ensuing years, Marini's riders appear to be dislocated from their mounts and focused on their inner human turmoil, reflecting a society bent by trauma, grief and apathy. By 1970 – and in the present work – the equestrian motif had been reduced into a kind of patterned obscurity, one that favoured impulse and impression over object and circumstance. This chronological disintegration was for Marini an extended metaphor for mankind's expulsion from earthly paradise into the cruel reality of war. In Cavalli e cavalieri, Marini creates mysteries that are just as vivid as his colours and forms. Bright, full-bodied black and blue oil paints coalesce into evocations rather than descriptions of the horses and riders, omitting any possible whispers of individualisation. Marini's lively dabs and strokes resonate across the surface of the paper in thick staccato, generating forms that resemble musical notations or grammatical symbols. The needle-thin lines with which he incises the subjects grants them a certain architecture, forming rivulets of violence and tension. With their arms raised in defiance, they could be cavalry units undertaking a drill or manoeuvre, charging forth in sync. Indeed, their harmonious colours could evoke a common uniform or military standard. Marini conjures up a saturated backdrop beneath them with off-white paint, sustaining the flatness and compression of the wider mise-en-scène. In their symmetry and abstraction, Marini's horses and riders resemble a Rorschach test, a psychological method by which one's perceptions of inkblots are recorded and analysed using a series of algorithms. In this, the present composition manifests psychoanalytical interpretations of his work, by which critics have understood the horses to signify man's primal erotic instinct – a force that must be harnessed and controlled by the riders. The horses also provide links to history and tradition, as Herbert Reed has observed: 'The taming of the wild horse marked a definite stage in the evolution of human civilization. But such symbolism apart, the horse, by its animal form... is in itself a thing of beauty that naturally appeals to the artist... Marini, in selecting this animal as a subject, is showing a predilection as old as art itself. It is all the more amazing, therefore, that he should have given a new treatment to the subject' (H. Read, P. Waldberg & G. di San Lazzaro, Marino Marini, Complete Works, Milan, 1970, p. 12).For Marini, tradition was a mode through which he could delineate mankind's relationship with the world, its values and its events. In this, he distinguished himself from the Italian Futurists, whose art embodied the mechanical and industrial advancements of their age. Nevertheless, he sought to pervert the epic and imperial overtones of the equestrian type, dismantling its mythology of uono di virtù, the individual virtuous hero. He considered this to be, 'my own way of reacting against the imperialist pathos of official Fascist art... I am no longer seeking, in my own equestrian figures, to celebrate the triumph of any victorious hero. On the contrary, I seek to commemorate in them something tragic – in fact, a kind of 'Twilight of Man', a defeat rather than a victory' (Marini quoted in É. Roditi, Dialogues: Conversations with European Artists at Mid-century, London, 1990, p. 87). Marini was keenly aware of the trajectory of the equestrian trope throughout history, placing himself in a dialogue with his antique forerunners and his avant-garde contemporaries. As he explained to the critic Édouard Roditi, equestrian motifs once 'set out to exalt a triumphant hero, a conqueror like Marcus Aurelius... The Romantic painters were already addicted to a cult of the horse as an aristocratic beast... From Géricault and Constantin Guys to Degas and Dufy, this cult of the horse found its expression in a new attitude toward sport and military life... In Odilon Redon's visionary renderings of horses and later in those of Picasso and Chirico, we then see the horse become part of the fauna of a world of dreams and myths' (Ibid., p. 86).As archetypes that endure throughout art history – and that sustain the microcosm of his oeuvre – horses and riders carried Marini's expansive visions of the world. These visions evolved through his encounters with both art and atrocity. In the present work, Marini succeeds in shifting these emblems of status and pow... 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
20th century silver pedestal bon bon dish, the circular bowl with pierced sides upon a circular stepped pedestal foot, hallmarked S Blanckensee & Son Ltd, Chester, date letter worn and indistinct, H10cm, together with a further smaller early 20th century silver example, hallmarked Walker & Hall, Sheffield 1912, H6.5cm, and a dish of oval form with beaded rim above pierced sides, hallmarked James Deakin & Sons, Sheffield 1931, W17cm, approximate total weight 9.15 ozt (284.7 grams)Condition Report:General wear commensurate with age and use, including surface scratches, nicks and small indentations.Larger pedestal bowl with a number of knocks to edge of feet, bowl is a little unsteady on base as a result.Second example with similar knocks to feet, also resulting in it being unsteady of base, and creases to stem, and knock to side of bowl.Hallmarks to first example worn and faint, date letter indistinct, however hallmarks to other examples clear and legible.
Two early 20th century silver mustard pot and covers, each of plain drum form, the first example with domed cover, hallmarked Reid & Sons, London 1927, the second with scroll handle, hallmarked Crichton Brothers, London 1935, each with blue glass liner, each approximately H6cm, approximate total silver weight 5.98 ozt (186.2 grams)Condition Report:General wear commensurate with age and use, including surface scratches, nick and small knocks. Hallmarks mostly clear and legible, however worn to body of example with domed cover. Glass liners with surface scratches and nibbles.
Two Victorian silver Christening mugs, the first example with acanthus scroll handle and engraved monograms to the body surrounded by chased foliate decoration, hallmarked Edward & John Barnard, London 1854, H9.5cm, the second of slightly waisted form with beaded scroll handle and engraved monogram to body, hallmarked Gough & Silvester, Birmingham 1867, H7.5cm, approximate total weight 7.18 ozt (223.5 grams)Condition Report:General wear commensurate with age and use, including surface scratches, nicks and small indentations.Largest example with splits and damage where handle meets body, and foot knocked and mug unsteady.Smaller example with visible seam line where handle is joined to body, area of compression where lower section of handle joins body and solder visible to exterior, indicating probable repair.Hallmarks clear and legible.
Two 1930's silver christening mugs, the first example of slightly tapering form with lipped rim, flat topped curved handle, upon a circular stepped foot, hallmarked C W Fletcher & Son Ltd, Sheffield 1936, H8.5cm, the second also with lipped rim, engraved initials to body and curved handle, upon a circular stepped foot, hallmarked William Adams Ltd, Birmingham 1936, H8.5cm, approximate total weight 7.02 ozt (218.5 grams)Condition Report:General wear commensurate with age and use, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.
Three silver caddy spoons, the first Victorian Fiddle pattern example with shell shaped bowl, hallmarked Reid & Sons, Newcastle 1855, the second Victorian Fiddle pattern example with scroll engraved detail to the circular bowl, hallmarked Charles Boyton, London 1841, and the third later example with shaped handle and shell shaped bowl, hallmarked Turner & Simpson Ltd, Birmingham 1979, approximate total weight 1.28 ozt (40 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks.Some slight wear to edges of bowls, particularly example with circular bowl.Hallmarks clear and legible.
Two clear cut glass dressing table bottles, the first Victorian example of spherical form with octagonal and hobnail cut decoration to body, and silver mounted hinged cover with embossed scrolling foliate decoration, lifting to reveal a glass stopper, hallmarked Birmingham 1897, makers mark worn and indistinct, the second of globular form with silver collar, hallmarked John Batt & Co Ltd, Sheffield 1925, together with two clear glass dressing table jars with silver covers, the first Edwardian example of shaped form embossed with flower heads and C scrolls, hallmarked Birmingham 1905, makers mark partly worn, probably Arthur Willmore Pennington, the second facet cut with plain cover, hallmarked Finnigans Ltd, Birmingham 1928, (4)Condition Report:Glass covers, top and collar with general wear, predominantly in the form of surface scratches and nicks, plain example with slight knock to one side, and shaped example with slight knock to one edge.Hallmarks with varying degrees of wear, particularly to makers marks.Glass jars with surface scratches, nibbles to edges and a few small losses to high points of bottles.Stopper to spherical example with loss to lower edge.
Spanish School 19th century."The Temptations of Saint Anthony".Oil on canvas.Measurements: 40 x 29,5 cm.It presents small scratches and detachments of paint.We are in front of the representation of the Temptations of Saint Anthony Abbot, a theme that has been very recurrent in the history of art and that has been represented in several periods and styles by artists as well known as El Bosco, Salvador Dalí or Joos Van Craesbeek.Saint Anthony, also called Anton Abbot, lived in Egypt between 251 and 356. He spent most of his adult life in the desert, living as a hermit. He was the first mystic in the secluded corners of the harsh Thebaid. He sought solitude and spent much of his time in meditation and prayer.According to the Catholic saintly narrative, the young man who had fled from the presence of men found solitude populated by demons. The spirit of evil, which had foreseen in this young man the father of a heroic race, appeared before him again and again "with its innumerable transformations and its infinite species". St. Anthony saw the world covered by the nets of the Evil One, who appeared to him as "a deformed monster, whose head touched the clouds and in whose claws were caught many souls who were trying to fly to God".Later, the founder of the hermits warned his disciples in writing about the dangerous enemies of the solitary:"Terrible and perfidious are our adversaries. Their multitudes fill space. They are always near us. Among them there is a great loneliness. Leaving it to the wisest to explain their nature, let us content ourselves with learning of the cunning they use in their assaults against us".Thus, in this piece St. Anthony is depicted writing at his desk, surrounded by temptations, lust, power and wealth.
PERE YSERN ALIÉ (Barcelona, 1875 - 1946)."Ballerina".Watercolour on paper.Signed in the lower right-hand margin.Size: 25 x 34 cm; 39.5 x 48 cm (passapartout); 49.5 x 57 cm (frame).Pere Ysern Alié was a disciple of Pere Borrell del Caso in his academy, where with Ramón Riera he formed the nucleus of the group "El Rovell de l'Ou". He made his first appearance at the General Exhibition of Fine Arts in Barcelona in 1894, and in 1896 he travelled to Rome, where he stayed for two years and completed his training with Ramón Tusquets. On his return to Barcelona in 1898 he took part in the Municipal Exhibition of Fine Arts. The following year he settled in Paris, where he exhibited at the Salon des Artistes Français in 1900. He was also a regular participant in the Salon des Indépendants. A clear sign of his international success was his participation, in 1901, in the International Exhibition of St. Petersburg, where the Russian Tsar bought one of his paintings. On his trip to Paris he became fully integrated into Parisian life, as well as into the Catalan circle residing in the city. He frequented the cabarets, making friends with Toulouse-Lautrec and creating a work based on an impressionist style in which he reflected the themes of dances, both classical and Spanish. After settling in Paris, he made occasional visits to Barcelona, where he exhibited his work at the Sala Parés in 1901 and 1903, and took part in the collective exhibition of the Association of Catalan Painters and Sculptors in 1905. In 1927 he returned to Spain, and from then on his presence in Barcelona and Catalan competitions was constant, and his painting was finally appreciated in our country. Today he is mainly represented in the MACBA, as well as in the Luxembourg Museum in Paris, the National Art Museum of Catalonia, the Fundació La Caixa and various private collections.
ANTONI COSTA TORRAS (Barcelona, 1904 - 1965)."Group of gentlemen reading".Oil on canvas.Precise restitutions and tear in the lower central area.Signed in the lower right corner.Measurements: 99 x 99 cm; 103 x 103 cm (frame).In a circular and concave composition, which allows the spectator to enter into the scene, the author gathers a group of men who swirl around a central character. The man stands out for his advanced age in relation to the rest, the undisputed protagonist, holding a piece of paper in his hands on which we can read "last minute". This feature suggests that the older figure is conveying news that directly affects all those gathered in the scene. The figures stand out for their large dimensions and a style inherited to a certain extent from Cubism.Antoni Costa trained in Buenos Aires, at the Círculo de Sant Lluc in Barcelona and at the FAD. A friend and companion of Sandalinas and Gasch, he exhibited in Barcelona from 1928 and, after the post-war period, also in Mallorca. In 1955 he was awarded a prize in the Mediterranean Games competition. Considered to be one of the best representatives of social realism in Catalonia, he focused his work on the themes of labour, the wretched, prostitutes, immigrants, etc., with a language that reacted against avant-garde academicism and the concept of art for art's sake. There are three stages in his production. The first, which lasted until 1938, is related to Cubism, and especially to the figures of La Fresnaye and Léger. Between 1939 and 1958 he came closer to Marie Blanchard, and finally evolved into a third stage, motivated by his failure in the eyes of the official critics and the new avant-garde, in which he shunned any public manifestation, focusing on works of more conventional technique and cruder subject matter, partially included in the exhibition devoted to him in Barcelona in 1966.
LUIS ÁLVAREZ CATALÁ (Madrid, 1836 - 1901)."Melancholic young woman".Watercolour and pencil on paper.Testamentary stamp in the upper left-hand margin.Measurements: 20,5 x 14 cm; 45 x 35 cm.(passpartout); 53,5 x 43 cm. (frame).Luis Álvarez began his training in Oviedo, and later went to the San Fernando School in Madrid, where he was taught by Federico de Madrazo. He then went to Rome with Rosales and Palmaroli in 1857, remaining in the Italian capital until 1894, making occasional trips to Madrid. During these years he took part in various exhibitions and was awarded a medal of merit at the Florence exhibition of 1861 and a second-class medal at the National Exhibition in Madrid the following year for his historical painting "Calpurnia's Dream", which was acquired by Isabella II. In 1866 he won a second medal, and later his painting "The Chair of Philip II at El Escorial" was awarded a first-class medal at the Paris Universal Exhibition of 1899, the National Exhibition of 1890 and the Berlin Exhibition of 1891, and was finally acquired by Kaiser Wilhelm II. Although he worked on a variety of themes, his stay in Rome inclined him mainly towards precious painting, with gallant themes of eighteenth-century atmosphere, "de casacón", which was a great success at the time with the public and art dealers. His Asturian roots also led him to apply this précieux style to the rural genre painting of that region. He was also the portraitist of the queen regent Doña María Cristina and the child king Alfonso XIII. In 1898, until his death, Luis Álvarez was director of the Prado Museum. In addition to several new acquisitions for the art gallery, his most important cultural activity was the celebration of the third centenary of Velázquez's birth. One of the most awarded Spanish painters of the 19th century abroad, Luis Álvarez was above all a Romantic painter, who was inspired by historical themes in his paintings.
JUAN BAUTISTA DE GUZMÁN (Granada, 1850 - Barcelona, 1898)."Flamenca, 1892.Oil on panel.Signed and dated in the lower right corner.Size: 38.5 x 21 cm; 59 x 39.5 cm (frame).Representative of the Andalusian costumbrismo, Juan Bautista de Guzmán specialised in popular scenes of bullfighters, peasants, taverns and courtyards of Granada. On this occasion he offers us a scene set in a porticoed street. The protagonist, a lady dressed in a flamenco dress and draped in a Manila shawl, looks directly at the viewer in a jovial, casual attitude. Costumbrista genre painting was a characteristic exponent of Andalusian folklore during the period of the emergence of Romanticism and 19th-century Orientalism. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of Romanticism enlivened this trend, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the Romantic fashion, turned its eyes to the people and monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniards and their peculiar customs had to be felt most strongly.Juan Bautista de Guzmán Orante was a Spanish painter born in Granada but settled in Malaga as a child. The Malaga painter Leoncio Talavera passed on his love of painting to him. He painted his first picture by copying a painting by his friend Talavera. In 1879 he took part in the Cadiz Exhibition, winning a silver medal, and in 1881 he exhibited his works at the National Exhibition in Madrid. After settling in Barcelona, he took part with two paintings in the Fine Arts Exhibition of the Catalan capital in 1888 and 1891 with "Garden", "A Wrong Way", "A Hungarian Family Begging for Charity", "A Burro muerto la barley al rabo" and "Sensibility", as well as in the 1896 edition.
NICOLÁS RAURICH Y PETRE (Barcelona, 1871 - 1945)."Self-portrait of Francesc Gimeno with pipe".Oil on panel.Signed and dedicated "Del teu autorretrat, però amb pipa" on the back.Measurements: 50 x 38 cm; 64,5 x 52,5 cm (frame).Nicolás Raurich trained at the Escuela de Bellas Artes de la Lonja in Barcelona, where he was a disciple of Caba, Rigalt and Meifrén. In 1892 he took part in an exhibition at the Sala Parés and also at the National Gallery in Madrid. In 1894 he obtained his first official success with the gold medal at the IV Centenary of the Discovery of Puerto Rico. He furthered his studies in Rome between 1895 and 1899, where he became friends with Enric Serra. He completed his studies in London and Munich, and after a short stay in Paris he travelled around Castile, influenced by the Generation of '98 and his taste for the arid landscape of the high plateau. In 1910 he took part in the first exhibition of Les Arts i els Artistes in Barcelona, and in 1919 in the Exposition d'Art Espagnol in Paris, where the Musée du Luxembourg (the future Musée d'Orsay) acquired one of his works. As an illustrator, his contributions to the weekly magazine "Blanco y Negro" were particularly noteworthy. He submitted his works to numerous national and international exhibitions, and was awarded prizes at the National Exhibition in Madrid (honourable mention in 1892 and second medal in 1897), honourable mention at the Salon de la Société des Artistes Français in Paris in 1900, and first medal at the International Exhibitions of Athens (1903) and Barcelona (1907), as well as at the International Exhibition of Arts and Industries in Mexico in 1910. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo de Arte Moderno in Madrid and the Musée d'Orsay in Paris.
JOSEP MARIA BRULL PAGÈS (Ascó, Tarragona, 1907 - Ripollet, Barcelona, 1995)."Maternity".Bronze sculpture on marble base.Signed.With the seal of the Parellada Foundry.Measurements: 41 x 13 x 13 cm.Sculptor and teacher, Josep Maria Brull was born in the Tarragona town of Ascó although he spent his childhood in Tivissa, also in Tarragona, where his father worked as a teacher. He studied to be a teacher and, at the same time, began his career as an artist, training at the Escola de La Llotja in Barcelona and at the Industrial d'Arts i Oficis in Sabadell with Antoni Vila Arrufat, where he became part of the artistic milieu of the time. After completing his studies he settled in Ripollet in 1927, although his passion for broadening his artistic path soon led him to Olot. After the war he settled in Ripollet, and in 1944 he became a teacher at the Escola Industrial d'Arts i Oficis in Sabadell, where he worked for more than thirty years. At the same time, he took part in various exhibitions and was awarded numerous renowned prizes. He also stood out as a sculptor and author of mosaics in the Roman tradition. Years after his death, in April 2008, the Ripollet municipal council approved the official anthem "Cant a Ripollet", with lyrics by Josep Maria Brull and music by Antoni Oliva, making it the first Catalan municipality with an official anthem. It is currently represented in the Academy of Fine Arts of Sabadell, as well as in various private collections.
JOSÉ PINAZO MARTÍNEZ (Rome, 1879 - Madrid, 1933)"Still life of fruit".Oil on canvas.Signed in the lower left corner.Size: 94 x 68,5 cm; 121 x 84,5 cm (frame).Painter and sculptor, son of Ignacio Pinazo Camarlench, he was born in Rome when his father was a pensioner there, and when he was two years old he returned to Valencia with his family. In his early years he began his training in the family workshop, after which he entered the San Carlos School of Fine Arts in Valencia. He soon began to make a name for himself at the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895 and a third medal in 1897 and 1901. He also took part in the Universal Exhibition in Paris in 1900, winning a second medal. After this period he began a series of trips that took him to Paris, Rome and London, settling in Madrid on his return to Spain. He continued to take part in important official exhibitions, being awarded the second medal at the Spanish-French Exhibition in Saragossa in 1908, third at the Universal Exhibition in Brussels in 1910 and second at the International Exhibition in Barcelona in 1911. Finally, in 1915, he won the first medal at the National Exhibition of Fine Arts for his painting "Floreal". Pinazo Martínez began his career with a language clearly influenced by modernism and the naturalism and costumbrismo of Sorolla, although around 1918 he began a process of stylistic purification which led to a more sober language. Works by José Pinazo Martínez are currently held in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Museo Municipal de Málaga and other public and private collections.
JOSÉ PINAZO MARTÍNEZ (Rome, 1879 - Madrid, 1933).Still life.1911.Oil on canvas.Signed and dated in the lower left corner.Cracks in the frame. The canvas is cracked in the margin.Measurements: 74 x 56 cm; 95 x 77 cm (frame).Painter and sculptor, son of Ignacio Pinazo Camarlench, he was born in Rome when his father was a pensioner there, and when he was two years old he returned to Valencia with his family. In his early years he began his training in the family workshop, after which he entered the San Carlos School of Fine Arts in Valencia. He soon began to make a name for himself at the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895 and a third medal in 1897 and 1901. He also took part in the Universal Exhibition in Paris in 1900, winning a second medal. After this period he began a series of trips that took him to Paris, Rome and London, settling in Madrid on his return to Spain. He continued to take part in important official exhibitions, being awarded the second medal at the Spanish-French Exhibition in Saragossa in 1908, third at the Universal Exhibition in Brussels in 1910 and second at the International Exhibition in Barcelona in 1911. Finally, in 1915, he won the first medal at the National Exhibition of Fine Arts for his painting "Floreal". Pinazo Martínez began his career with a language clearly influenced by modernism and the naturalism and costumbrismo of Sorolla, although around 1918 he began a process of stylistic purification which led to a more sober language. Works by José Pinazo Martínez are currently held in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Museo Municipal de Málaga and other public and private collections.
LUIS ÁLVAREZ CATALÁ (Madrid, 1836 - 1901)."A confession to his mother". Rome, 1898.Oil on panel.Signed in the lower left corner.Includes, on the back, a certificate of dispatch from the Spanish Chamber of Commerce and Arts in Rome.Measurements: 37 x 25 cm; 41 x 31 cm. (passpartout); 67 x 54 cm (frame).In his genre painting, Luis Álvarez displayed a magnificent characterisation of both types and costumes, rendered with painstaking preciosity, which is evident in this intimate domestic scene. A young girl takes her mother's hands in hers as she brings her face close to the old woman's to whisper to her the concerns of her age.Luis Álvarez began his training in Oviedo and later went to the San Fernando School in Madrid, where he was taught by Federico de Madrazo. He then went to Rome with Rosales and Palmaroli in 1857, remaining in the Italian capital until 1894, making occasional trips to Madrid. During these years he took part in various exhibitions and was awarded a medal of merit at the Florence exhibition of 1861 and a second-class medal at the National Exhibition in Madrid the following year for his historical painting "Calpurnia's Dream", which was acquired by Isabella II. In 1866 he won a second medal, and later his painting "The Chair of Philip II at El Escorial" was awarded a first-class medal at the Paris Universal Exhibition of 1899, the National Exhibition of 1890 and the Berlin Exhibition of 1891, and was finally acquired by Kaiser Wilhelm II. Although he worked on a variety of themes, his stay in Rome inclined him mainly towards precious painting, with gallant themes of eighteenth-century atmosphere, "de casacón", which was a great success at the time with the public and art dealers. His Asturian roots also led him to apply his précieux style to the rural genre painting of that region. He was also the portraitist of the queen regent Doña María Cristina and the child king Alfonso XIII. In 1898, until his death, Luis Álvarez was director of the Prado Museum. In addition to several new acquisitions for the art gallery, his most important cultural activity was the celebration of the third centenary of Velázquez's birth. One of the most awarded Spanish painters of the 19th century abroad, Luis Álvarez Catalá was above all a romantic painter, who was inspired by historical themes in his paintings. Álvarez Catalá is represented in the Prado Museum, the Senate in Madrid, the Fine Arts Museums of Bilbao, Jaén and Oviedo and the University of Granada, among other public and private collections.
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