ANTONIO MUÑOZ DEGRAIN (Valencia, 1840 - Málaga, 1924)."Landscape.Oil on panel.There is a tear in the panel.Signed in the lower right area.Measurements: 17 x 28 cm.Reputed landscape painter and history painter, Antonio Muñoz Degraín began studying architecture in his youth by his father's decision, although he soon abandoned it for painting. A student at the San Carlos Academy of Fine Arts in Valencia from the age of twelve, he was a pupil of the painter Rafael Montesinos, although his training was essentially self-taught. An artist with a vehement and exalted character, traits that would literally translate into his paintings, he took part assiduously in the National Exhibitions of Fine Arts from 1862 to 1915, and it was his successes in these competitions that would have a decisive influence on his artistic career. In 1870 he was asked to decorate the Cervantes Theatre in Malaga and settled in the Andalusian capital for good. He married there and years later was appointed supernumerary professor at the San Telmo Royal Academy of Fine Arts (1879). At the Academy Muñoz Degraín taught a whole generation of artists, including the very young Picasso, who always showed him affection and respect. In 1881 the painter was awarded his first medal, which enabled him to study and visit Rome. Degraín's artistic career continued to grow thanks to the recognition he received throughout his life, including the chair of landscape painting at the San Fernando Academy in Madrid in 1898, the year in which this work of his full maturity is located, in which we can perceive a landscape halfway between reality and invention. It is an indeterminate scene in which greys and browns predominate, as Degraín, unlike the Impressionists, painted in the studio, completing the sketches he took from life. His landscape and historical paintings had been inspired by the landscapes described in literary novels, to which he added a highly personal symbolism and romanticism. Muñoz Degraín also enjoyed notable success abroad, submitting his paintings to the Universal Exhibitions of Philadelphia (1876), Munich (1883) and Chicago (1893). He is currently represented in the Museo del Prado and the Museo de Bellas Artes in Valencia, among others.
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JOSE MARIA LÓPEZ MEZQUITA (Granada, 1883 - Madrid, 1954)"Portrait of a child.Oil on canvas.Signed in the lower right corner.Size: 39 x 49 cm; 66 x 57 cm (frame).An outstanding painter of the late 19th and early 20th century, José María López Mezquita was a full member of the San Fernando Royal Academy of Fine Arts in Madrid and an honorary member of the National Academy of Fine Arts in Paris. He began his training under the guidance of José Larrocha, and in 1897 he entered the San Fernando School of Fine Arts, where he was a disciple of Cecilio Pla. Shortly afterwards the Infanta Isabella of Bourbon awarded him a scholarship which enabled him to further his studies in France, Belgium, Holland, England and Italy. He won first medals at the National Fine Arts Exhibitions in Madrid in 1901 and 19010, and was a candidate for the medal of honour in the 1915 and 1924 editions. He was awarded the third medal at the Paris Salon of 1903, and the second medal at the International Exhibition of Barcelona in 1907 and at the International Exhibitions of Munich (1909) and San Francisco (1915). He was also awarded the top prize at the Buenos Aires International of 1910, the Barcelona International of 1911 and the Panama International of 1916. In 1952 he was awarded the prize of honour of the Círculo de Bellas Artes in Madrid. López Mezquita is currently represented in the Prado Museum and the Fine Arts Museums of Granada and Álava, among others.
RAMON NADAL HORRACH (Palma de Mallorca, 1913 - 1999)."Landscape", 1945.Oil on canvas.Signed and dated in the lower right-hand corner.Measurements: 65 x 84.5 cm; 82 x 99 cm (frame).Ramon Nadal trained with Llorenç Cerdà and Francesc Rosselló at the School of Arts and Crafts in Palma de Mallorca, and was introduced to the world of art thanks to his father. At the age of just thirteen he held his first exhibition, which was held at the La Veda gallery in Palma. In 1940 he took part in the founding of the Círculo de Bellas Artes in Palma, where he would later exhibit his works on several occasions. He mainly worked in oil painting, and his work encompasses practically all genres (figure, still life, portrait, etc.), although he is especially known for his landscapes. He belongs to the Mallorcan post-impressionist movement, and is noted for the consistency of his drawing. Throughout his career his work was recognised on several occasions, especially the Medal of Honour of the Círculo de Bellas Artes de Palma in 1952 and the City of Palma Prize the following year. Likewise, since 1964 he was a full member of the Royal Academy of Sant Sebastià. Some outstanding young artists were trained in his studio, such as Alicia Alcover, Miguel Llabrés, Antoni Alzamora, Juan Segura, Josep Manresa Clar and his nephew, Francisco Gaita. There is currently a street in Palma de Mallorca that bears his name, and his works form part of several collections, including that of the Can Prunera Museum in Sóller (Mallorca).
DIONISDIO FIERROS ÁLVAREZ (La Ballota, Asturias, 1827 - Madrid, 1894)."Cliffs".Watercolour on paper.Lack of glass.With restorations.Signed in the lower right corner.Measurements: 77 x 51 cm; 88 x 61 cm (frame).Born in a peasant environment, Dionisio Fierros trained in Madrid, first in the workshop of José Madrazo and then in that of his son Federico. At the same time he enrolled at the San Fernando Academy of Fine Arts and copied works at the Prado Museum. In 1885 he left the court and moved to Galicia, determined to succeed as a painter, and devoted himself to commissioned portraits, a genre in which he excelled with a strong personality, somewhere between realist and romantic. He remained in Galicia for three years and tirelessly painted portraits, landscapes and genre scenes featuring the popular types of the area. In 1860 Fierros took part in the National Exhibition of Fine Arts in Madrid and won one of the first medals with his painting "Romería en las cercanías de Santiago" ("Pilgrimage near Santiago"), which would give prestige in Madrid to the genre of genre painting, so popular at the time. He then travelled to Paris to complete his training, thanks to the protection of the Marquis of San Adrián, and on his return to Spain he settled in Santiago de Compostela, painting landscapes and popular Galician customs. He continued his picturesque wanderings, which took him to Salamanca, where he also left numerous testimonies of popular types. In 1866 he again took part in the National Competition and was again awarded a prize. Dionisio Fierros is currently represented in the Prado Museum, the Museum of Modern Art in Madrid, the National Museum of Fine Arts in Buenos Aires, the Pazo Quiñones de León in Vigo, the Provincial Museum in Lugo, the Museum of Fine Arts in Asturias, the University of Santiago de Compostela, the Museo Casa Natal de Jovellanos, the Royal Sites and various provincial and town councils, among others.
ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Still life violin". Watercolour and coloured pencils.Signed in the lower right area.Size: 30 x 41,5 cm; 48 x 54,5 cm (frame).Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.
JULIA MINGUILLÓN IGLESIAS (Lugo, 1907 - Madrid, 1965)."Landscape".Oil on panel.Signed in the lower right corner.Measurements: 70 x 48 cm; 82 x 58 cm (frame).Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. She also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958)."El somriure (Portrait of the dancer Isabel Rodríguez), 1914.Plaster.Mark of Godard Pere Fondeur, Paris.Signed.Bronze copy published in "Josep Clarà, els anys de París, 1900-1931. L'ànima vibrant", with texts by Eva Vázquez, Mercè Doñate, Lluís Muntada, Mariàngela Villalonga and Manuel Loosveldt.Size: 35 x 24 x 26 cm.Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of the "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. His work can also be found in the Museu Comarcal de la Garrotxa in Olot and the Museu Nacional d'Art de Catalunya, among others.
ELISEO MEIFRÉN (Barcelona, 1857 - 1940)."Landscape.Oil on panel.Signed in the lower right corner.Size: 27 x 18 cm; 57 x 47 cm (frame).In this composition, Meifrén's brushstroke achieves freedom and boldness by abstracting the pure impression of a landscape scene. It is probably a late painting, from a mature period when Meifrén had already fully assumed his characteristic technique of loose brushstrokes and vibrant palette, which here almost verges on abstraction. Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the Barcelona School of Fine Arts, where he was a pupil of Antonio Caba and Ramón Martí Alsina, with whom he began to produce romantic landscapes of academic style. After completing his studies in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he became acquainted at first hand with "plen air" painting, which was to have a powerful influence on his Parisian landscapes of those years. It was also in Paris that he coincided with the public debut of Impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome, where he came into contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he took part in the Regional Exhibition in Valencia, where he won a gold medal. Back in Barcelona in 1880, he made his individual debut in 1880 at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. During these years he was a member of the Modernist group and frequented Els Quatre Gats. In 1883 he returned to Paris, where he produced numerous drawings and watercolours with views of the city and its cafés, which earned him a warm reception from the French critics and public. In the late 1980s he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centre de Aquarelistes. In 1888 he was also a member of the jury for the Universal Exhibition held in Barcelona. In 1890 he returned to the French capital for the third time, where he took part in the Salon des Beaux-Arts and the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group the previous year. In the following years Meifrèn submitted his works to numerous official exhibitions and competitions, including the National Exhibitions of Madrid and Barcelona, and was awarded third medals at the Paris Universal Exhibitions of 1889 and 1899, a silver medal at the Brussels Universal Exhibition of 1910, a grand prize at the Buenos Aires Universal Exhibition of the same year, a medal of honour at the San Francisco International Exhibition of 1915 and a grand prize at the San Diego Exhibition the following year. He also won the Nonell Prize in Barcelona in 1935. In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palau de la Virreina. His early landscapes, characterised by an academic and romantic concept, later evolved towards an impressionist language. He is currently represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Venice".Oil on canvas.Attached certificate issued by Dr. Gerardo Pérez Calero.It has faults in the exterior lateral areas.Signed in the lower left corner.Measurements: 58 x 70 cm.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, including prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
GUILLERMO GÓMEZ GIL (Malaga, 1862 - Cadiz, 1942)"Marina".Oil on canvas.Signed in the lower left corner.Measurements: 60 x 100 cm.Gómez Gil began his training in Malaga, where he had Emilio Ocón y Rivas as his first teacher, to later continue his studies as a disciple of Federico Ferrándiz and Antonio Muñoz Degrain. He specialised in landscape painting, particularly marine landscapes, paying particular attention to lighting effects. In 1892 he submitted six landscape paintings to the National Exhibition of Fine Arts in Madrid, three of them of the port of Malaga and two entitled "Una borrasca" ("A Squall") and "Efecto de sol" ("Effect of the Sun"). He won a third medal with marine themes at the National Exhibition of 1897 with an oil painting entitled "Efecto de luna" ("Moon Effect"). In 1901 he won a second medal with a work of the same title, and repeated the award in 1906 with "Marina" and "Playas de Málaga". In 1910 he became a teacher at the Seville School of Arts and Industries and spent long periods in Cadiz. A painter of refined technique and great sensitivity, he left for posterity numerous seascapes which are models in their genre, especially outstanding in the depiction of the reflection of the sun and moon on the surface of the sea. Guillermo Gómez Gil is represented in the Museo del Prado, the Carmen Thyssen-Bornemisza Collection, the Museo del Patrimonio Municipal de Málaga, the Museo de Bellas Artes de Sevilla, the Diputación Provincial de Zamora and the Museo de San Telmo in San Sebastián.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Bar scene".Oil crayon on paper.Signed in the lower right corner.Size: 25 x 20 cm; 48 x 42 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Familia. 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 home town 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).In the scene proposed by Opisso, the author uses humour and caricature as he often does. With a forced point of view, from the lower, swooping area, Opisso portrays in the foreground a marine's attempt to kiss a beautiful woman. The positions of their bodies create diagonal lines, some of them opposing each other, especially if we look at the couple's legs. While the sailor aggressively approaches the woman, she is cornered at the right edge of the work, being subjected to his kiss. Meanwhile, in the background, the sailor's companions are also enjoying the effervescent atmosphere of the place.
PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."La blanche".1925Oil on canvas.Signed and dated in the lower right corner.Measurements: 116 x 89 cm; 135,5 x 108,5 cm (frame).The aura of Picasso's influence surrounds Pruna's work, and this is particularly evident in this work, which Pruna produced at a time when the most avant-garde European painters were looking back (to the Renaissance or Ancient Greece), reinventing classicism in their own way. Picasso was immersed in his classicist period when Pruna moved to Paris in the 1920s, and a relationship of friendship and mutual admiration began between them. The mark that the Malaga-born artist, in his post-Cubist period, left on Pruna is strongly felt in this painting. Elegance and simplicity are masterfully combined in this composition. The stylised profile of a young woman with her back to us is enhanced by the white scarf covering her black hair. A tight-fitting dress reveals the subtle swirl of her form. Faint silvery shadows define the curve of the buttocks, and these silvery glimpses reverberate on the girl's pearly flesh tones. Only a slight hint of crimson and the carmine of the fine lips interrupt the rich range of greys, which are also shared by the background. The room occupied by the figure is barely hinted at with a few linear strokes.A mainly self-taught painter, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). Following the outbreak of the Civil War, Pruna continued his international exhibition activity, and his exhibition in London in 1937 was particularly noteworthy. After the war he combined his easel painting exhibitions with mural painting, a genre in which his works in the monastery of Montserrat were particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
French school; 19th century.Oil on canvas.Signed E. Delacroix.Presents X-ray and GSS analysis.Measurements: 65.5 x 81.5 cm; 81 x 98 cm (frame).In a sumptuous and delicate way the author of this work wraps the body of a naked young woman in rich fabrics. The woman, who adopts a languid, carefree pose, is oblivious to the viewer and absorbed in her own intimacy. This is a totally romantic attitude, the impossible attracts and fascinates the imagination, turning the image of the woman into a symbol of sensuality. It is the representation of an impossible because the romantics would never be able to find what they dreamed of, as they were realities that did not exist. It should also be noted that, within the subject matter of this nude, the author was inspired by the depictions of odalisques, which became widely popular. This recourse to Orientalism should be understood as one of the currents that fuelled European art in the 19th century, coinciding with the triumph of the capitalist bourgeoisie and the imperialist countries, especially England and France. Within the Romantic rejection of time itself, a fantastic and free flight in time and space developed, towards antiquity and towards an Orient that stretched from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Middle East will be the new discovery. Starting with Ingres' beautiful and unattainable odalisques, with their pale skin and elegant gestures that always make one think of a captive Christian princess, never an Arab woman, the various schools of painting developed a whole new iconography that sought to recreate in a fantastic way - since nothing was known about the Orient - a world forbidden to Westerners and full of attractions. Painters such as the French painters Bouguereau and Giraud recreated exotic scenes in minute detail, seeking to serve as a window onto the unknown through an almost photographic reproduction that lends verisimilitude to the narratives and stimulates the imagination of the European spectator. The oriental protagonists are almost always beautiful, elegant women, who embody the yearning for the unattainable. Romantic exoticism is thus the quintessence of modern nostalgia; it is the constant pursuit of something impossible to attain, something that does not exist or has been transformed. Thus, although paintings like this one may appear realistic at first glance, they remain first and foremost Romantic, emblematic of an era and a way of thinking that ushered in the modern age.Both the aesthetic and thematic treatment of the work indicate that this is a painter in contact with the currents of both Romanticism and Neoclassicism. In short, the characteristics of this work bring together various trends that developed in France in the early 19th century, making the country, and in particular the city of Paris, one of the most important cultural centres of the period.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a lady.Oil on canvas.With restorations.Signed in the lower right area.Measurements: 89 x 70 cm.Portrait of a lady with a long bust, the work follows the precepts established by the genre of the portrait during all the history of art; the neutral background that monumentalizes the figure, the position in the foreground and the strict frontality among other characteristics. However, it is worth noting the pose of the sitter, who is shown before the viewer with her arms crossed, clasping her hands and leaning slightly to one side, which shows how tired she is from hours of posing before the artist and leaves the viewer with an anecdotal element that describes the sitter's personality. Palmaroli was a vigorous portraitist who knew how to delve deeply into the psychology of the sitter and recreate the minute details of her clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetic of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Rome Academy. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
DICK KET (1902 - 1940)."Dutch City View", 1928.Ink drawing on paper.Informative annotation on the back.Signed and dated in the lower right-hand corner.Provenance: Private collection Mallorca.Size: 27.5 x 23 cm; 39.5 x 45 cm (frame).Although Ket's first paintings are impressionist in style, he was decisively influenced by the art of Neue Sachlichkeit in 1929 and, from then on, he painted in a magical realist style. His meticulously composed and rendered still lifes feature favourite objects such as bottles, an empty bowl, eggs and musical instruments. Ket juxtaposed these objects in angular arrangements, seen from a high viewpoint, their cast shadows creating emphatic diagonals. These compositions reveal the influence of Cubism filtered through Cassandre's posters, which are frequently depicted in Ket's paintings. Another source of inspiration came from early Dutch painting, which Ket admired for its atmosphere of austere reverence that he called its "intrusive" quality. Ket completed approximately 140 paintings, including forty self-portraits. As a result of his technical experimentation with different formulations and additives to the glaze medium, some of his paintings are not completely dry after six decades. In his self-portraits the progressive symptoms of his physical deterioration are evident. Museums housing works by Dick Ket include the Rijksmuseum in Amsterdam, the Arnhem Museum and the Boijmans Van Beuningen Museum in Rotterdam.
EMILIO GRAU SALA (Barcelona, 1911 - 1977)."Seated Lady".Oil on panel.Signed in the lower left corner.Size: 46 x 55 cm; 72 x 81 cm (frame).The feminine universe fascinated Grau Sala, and this fascination is translated into domestic scenes which, despite their familiarity, are halfway between reality and reverie. Female portraits such as the one we are dealing with here bear witness to this: colour takes on an absolute protagonism, diluting lines and shapes and building an atmosphere of light and independent colour, tinged by Grau Sala's highly personal textures, which play at confusing the space, awakening the viewer's imagination.Son of the draughtsman Juan Grau Miró, Grau Sala combined his attendance at the Barcelona School of Fine Arts with an essentially self-taught training. In 1930 he held his first exhibition at the Badriñas gallery in Barcelona. At the outbreak of the Civil War, in 1936, he moved to Paris, where he settled in the Montparnasse colony of Spanish artists. That same year he was awarded the first Carnegie Prize. During the twenty-five years he spent there he became closely acquainted with the avant-garde, although he always favoured a colourist figuration derived from Impressionism and Fauvism. It was a path already taken by the commercial circuit, surpassed in terms of novelty by Cubism and Surrealism, but which was kept alive at a high level thanks to masters such as Bonnard, Chagall and Dufy. In fact, he soon became known in Paris as the successor to the Impressionist spirit and values, directly related to Bonnard and Vuillard. This stylistic choice of Grau Sala's conditioned that of his wife, Ángeles Santos, who abandoned her singular surrealism for a more conventional landscape, a decision that critics did not hesitate to regret. The success of his style led Grau Sala to devote himself also to graphic work (engravings, lithographs, illustrations for novels, posters...), as well as theatre sets. The grace and finesse of his characters, the vivacity of the colours and the elegant atmosphere of the environments he depicted brought him great success and recognition all over the world. He held several solo exhibitions, mainly in Barcelona and Paris, but also in cities such as New York, Toulouse, London and Los Angeles. In 1963 he returned to Barcelona, when the stagnant figuration of Franco's Spain was beginning to be challenged by Oteiza, Chillida, Tàpies and the "El Paso" collective. However, he remained faithful to his style, and until his death in 1975 he worked in his own personal style, centred on his favourite themes, female figures, interiors and landscapes, in a vaguely classical, nostalgic 19th-century setting. After his death, and for more than a decade, Grau Sala was overshadowed by the many novelties that were emerging in democratic Spain, but from the 1990s onwards, the new boom in mid-level collecting revived Grau Sala, as he was seen as an interpreter of Impressionism in a Spanish key. Works by Emilio Grau Sala are kept in the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo Esteban Vicente and the Instituto Óscar Domínguez de Arte y Cultura Contemporánea.
DEATH CARD - JOHN DALY, FENIAN, AGED 70 YEARS DIED 30TH JUNE 1916. THOMAS J CLARKE, AGED 53 YEARS, FIRST SIGNATORY TO THE DECLARATION OF INDEPENDENCE OF THE IRISH REPUBLIC, SHOT KILMAINHAM JAIL 3 RD MAY 1916. JOHN EDWARD DALY AGED 25 YEARS, COMMANDANT OF THE IRISH REPUBLICAN ARMY WHO WAS SHOT BY THE BRITISH FORCES AT KILMAINHAM JAIL, DUBLIN, 4TH MAY 1916
EMMET DALTON DOCUMENTS - VARIOUS LETTERS TO EMMET'S FATHER CONGRATULATING HIM ON HIS SONS ACHIEVEMENTS IN THE FIRST WORLD WAR AND HOW HE SHOULD HAVE BEEN AWARDED THE VICTORIA CROSS BUT INSTEAD RECIEVED THE MILITARY CROSS. LETTERS FROM THE LIKES OF JOSEPH DEVLIN, JOHN REDMOND TO NAME BUT A FEW.
A diamond ring by Kutchinsky, 1972, and a dress ring, circa 1970, the first designed as a bicoloured 18ct gold column, set with three brilliant-cut diamonds to one side, the second set with a rectangular lapis lazuli panel within an abstract quatrefoil surround set with two brilliant-cut diamond highlights, first signed ‘Kutchinsky’, London hallmark, maker’s mark, second stamped ‘14Kt’, total diamond weight approximately 0.50 carat, ring sizes G and K. £400-£600
The Throckenholt Cross - An early Medieval gold cross pendant, 11th-12th century, the Latin cross composed of arms of triple tiered ropetwist wires with trefoil terminals and beaded detail, with four further bead highlights at the point of intersection, to a broad reeded suspensory loop; applied to the centre is a slightly later Medieval (13th century) vacant lozenge-shaped setting, pendant length 31mm. £6,000-£8,000 --- This cross was found by a detectorist in Sutton St. Edmund, Lincolnshire in 2019. The parish of Sutton St. Edmund includes the hamlet of Throckenholt, where a hermitage and chapel were granted to Thorney Abbey, by Nigel, Bishop of Ely (1133-69). It is probable that there had been a hermitage here for some time, as the Red Book of Thorney states that Throckenholt had been used as a hermitage since 1107. The hermitage is mentioned again in 1189-97 and 1348. In 1293-1305, Abbot Odo of Thorney ordered that two or three monks should reside there as had previously been the case. The chapel stood where Throckenholt farmhouse now stands, fragments of stone, bones and other relics having been found on the site at various times. It survived until at least 1540 when it is shown on a map of Wisbech Hundred (the original is in Wisbech Museum). This cross is of a form associated with Medieval Greek Othodoxy in the Eastern Baltic region. A very similar pendant is illustrated in Austin and Alcocks (ed.), From the Baltic to the Black Sea: Studies in Medieval Archaeology, p 175, figure 10.6, row 5, no. 1. In the accompanying text on Medieval Britain it notes: “Accompanying the spread of Christianity, the archaeological material reveals small Orthodox (11th-14th centuries) and Catholic (12th-14th centuries) crosses, which were at first introduced from abroad.” The illustrated example was discovered in Denmark. In the medieval period Denmark formed part of the Hanseatic League, a commercial and defensive confederation of merchant guilds and market towns in central and northern Europe, growing from a few north German towns in the late 12th century, to encompass nearly 200 settlements across seven modern-day countries at its height between the 13th and 15th centuries. Originally a loose association of traders and towns advancing their mutual commercial interests, these arrangements gradually coalesced into the Hanseatic League, a cohesive political organization by the end of the 13th century, whose traders enjoyed duty-free treatment, protection, and diplomatic privileges in affiliated communities and their trade routes. During the peak of its power, the Hanseatic League had a virtual monopoly over maritime trade in the North and Baltic seas. King’s Lynn, on the North Sea coast, just 20 miles from Sutton St. Edmund, provided a significant enclave and trading partner for the Hanseatic League, housing a representative merchant and a League warehouse, and this may provide a possible explanation for the link between these two very similar crosses. This cross is recorded on the Portable Antiquities Scheme database, Ref: NMS-06E591, and has subsequently been disclaimed as Treasure (2019-T379).
An Elizabethan cardinal’s seal ring, 16th-17th century, the large gilt metal ring with an oval bezel bearing intaglio detail of a male profile, probably a pope wearing the camauro, within a beaded border, the bezel between caryatid shoulders, ring size approximately U. £1,000-£1,200 --- This ring was found at Deerhurst, on the outskirts of Tewkesbury. St Mary’s Priory church, Deerhurst, was built in the 8th century, when Deerhurst was part of the Anglo-Saxon kingdom of Mercia. The church was restored and altered in the 10th century after the Viking invasion of England, and enlarged early in the 13th century and altered again in the 14th and 15th centuries. The church has been described as "an Anglo-Saxon monument of the first order". From the Anglo-Saxon era until 1540, St Mary's was the church of a Benedictine priory. After dissolving the priory the Crown leased it’s manor to a George Throckmorton and it remained with his heirs until 1604, when it was sold to Thomas Cassey of Wightfield Manor near Apperley. Deerhurst also contains the 11th-century Odda's Chapel, about 200 yards southwest of the St Mary’s, which remained in use until the 16th century.
A late 19th century gold signet ring, engraved with crest and motto, stamped ‘18CT’, ring size M-N. £600-£800 --- The crest is from the von Dadelszen family with motto ‘Per Ardua Surgam’, translating as ‘Through trials I shall rise’. This crest, now used by the New Zealand branch of the family, may well have been derived from the German family Stoppel, originating in the early 17th century, and consisting of three golden ears of corn standing upright on a stubble field. In medieval times ‘stoppeln’ was a common word for raking or collecting field crops. (Stoppel translates as ‘stubble’ in German). The Stoppels were Lutheran protestants so the three ears could be the symbol of the Lutheran motto “loyal - firm - true”. The first appearance of the Stoppel surname in the Von Dadelszen family appeared with the marriage of Michael David von Dadelszen (1760-1831) to Christina Dorothea Stoppel. Numerous other members of the Stoppel family married into the Von Dadelszen family. The Von Dadelszen name was first recorded circa 1520 in Stade, a small town 50 miles from Hamburg. Changes occurred to the spelling over the centuries - between 1655-1688 changing from van Dalen to von Dahlern; around 1688, from von Dahlern to von Dadelsen, and in the second half of 18th century, one part of the family changed the name to von Dadelszen. On 27 January 1860, Edward von Dadelszen is recorded as sailing from Liverpool, bound for Auckland, New Zealand, with his two surviving sons and five daughters, two years after the death of his wife, Mary Jane Evans. The descendants of the New Zealand branch of the family have comprehensively researched the family history from 1520 to the present day (15 generations). See website: wwww.knowledgebank.org.nz
Two 19th century shell cameo brooches, the first oval cameo carved to depict the Venus Anadyomene or The Birth of Venus, Venus depicted arising from the sea on a scallop shell accompanied by a cherub riding a pair of dolphins, with Helios Apollo riding his horsedrawn chariot across the skies with cherubs and muses, collet set within a plain gold frame with scroll engraved ribbon details to the cardinal points, the second carved to depict a figure carrying a lyre on his back accompanied by a child, collet set in scroll engraved mount, first brooch length 71mm, second 52.5mm. £200-£300 --- The birth of Venus or Venus Anadyomene (Venus arises from the sea), was a popular subject in Classical and Neo-classical art. According to Roman myth, Venus, the goddess of love and fertility, was conceived when her father, the titan Caelus-Uranus, was castrated and his genitals thrown into the sea; she was ‘born’ as a fully formed woman (the ideal of womanhood) arising out of the sea foam. Helios Apollo was the classical Sun god, riding across the sky each day in his chariot. This depiction appears to be loosely based on The Birth of Venus or Le Triomphe de Neptune, by Nicolas Poussin (1594–1665), currently housed in the Philadelphia Museum of Art.
A Danish silver and aventurine quartz bracelet designed by Karl Gustav Hansen for Hans Hansen, circa 1970, the polished quartz domes set within broad cylindrical collars with circular link connectors between, signed ‘Hans Hansen’, ‘Denmark’, ‘925S’, London import mark for 1970, sponsor’s mark for Danish Silver Designs Ltd., length 19cm. £400-£600 --- Hans Hansen (1884-1940) opened a goldsmith shop and smithy in Kolding, Denmark about 1906. By the 1920s, Hansen was producing his own line based on his and H.F. Gross' designs. Initially the company produced flatware. Once that was successful, they started designing and making jewellery. The first pieces were designed by Hansen himself around 1931 but the production of jewellery really began in earnest in 1932 with a collection designed by Hansen's son Karl Gustav Hansen, (born 1914). After his father’s death in 1940, at just 56 years of age, Karl Gustav took over the Hans Hansen silversmithy. In 1992 the firm joined with the Georg Jensen company.
An early 20th century gold and diamond set buckle by Cartier, circa 1902, the bowed oval frame with inner twin C-scrolls set with rose-cut diamonds, the chape signed ‘Cartier Paris’, stamped ‘622’, with French eagle’s head assay mark and lozenge maker’s mark, the chape engraved to the reverse with the number ‘279’ in italics, contained in fitted gilt tooled leatherette case, the cover stamped ‘M de L.C.’, the interior cream silk signed ‘CARTIER PARIS 13 RUE DE LA PAIX / LONDON 4 NEW BURLINGTON STREET’, dimensions 72.5 x 51mm. £2,000-£3,000 --- Pierre Cartier (1878-1964) opened the first Cartier boutique in London at 4, New Burlington Street, in 1902, to coincide with the coronation of King Edward VII. In 1909, under the direction of 25-year-old Jacques, (1884-1941), the youngest of the three Cartier brothers, it was decided to relocate the London business around the corner to its present location at 175-176 New Bond Street.
Patek Philippe & Co. Retailed by Cucco. A gold rectangular wristwatch, circa 1940 Movement: manual winding, no. 833257 Dial: black, applied faceted baton indexes, subsidiary seconds Case: 18ct gold, snap-on back, no. 619946, 18ct gold buckle Signed: case, dial, movement and buckle Dimensions: length including lugs 42.5mm, width 20mm. £6,000-£8,000 --- Ottavio Cucco opened his first jewellery store in 1886 in Biella, Italy. It soon became the city’s leading jeweller and an official retailer for Patek Philippe. The business continued to thrive in the hands of his son, Leonzio, who passed it on to the Albonico family in 1945, having no children of his own. In 1978, also childless, the Albonico family chose Roberto Boglietti to take over the running of the world famous atelier. Roberto Boglietti had trained in his family’s workshop, watching his father and uncle at work creating objects of boundless beauty. Boglietti’s stylish designs are now know for their skilled mastery around the world. It was Roberto Boglietti who Patek Philippe asked to design the famous Twenty-4 lady’s wristwatch in 1997.
Rolex. A stainless steel automatic wristwatch with bracelet, Ref. 5508, Submariner, ‘James Bond’, circa 1960 Movement: cal. 1530, automatic, 26 jewels, no. 83730 Dial: black service dial, triangular, baton and dot indexes, centre seconds Case: stainless steel Oyster case, screw-down crown and back, calibrated bezel, inside case back stamped 5508 11.62, stainless steel Oyster bracelet Signed: case, dial, movement and bracelet Dimensions: diameter 38mm. £6,000-£8,000 --- The Submariner reference 5508 was first released in 1958, replacing the 6536 and featured the new calibre 1530 movement. All these early Submariner models without crown guards are know to collectors as the James Bond models. This is because this was the watch of choice for the famous British secret service agent in the early films featuring Sean Connery in the 1960’s.
Three silver vesta cases, the first of rounded oblong form, engraved throughout with ivy leaf decoration, initialled to reverse, with suspensory loop, by Colen Hewer Cheshire, Birmingham 1896, the second modelled as four cigars, foliate engraved, by Turner Brothers, Birmingham 1895, the third formed as an entwined serpent, stamped ‘925’, lengths 49mm (excluding suspensory loop), 50mm, 43mm respectively. £100-£150
Two antique diamond rings, the first claw set with a graduated row of old brilliant-cut diamonds, the second set with an old brilliant-cut diamond in a raised claw setting, both mounted in gold, first with partial hallmark for 18ct, total diamond weight approximately 0.80 carat, ring sizes L and N respectively. £700-£1,000
A late 19th century pearl ring and a coral ring, 1870, the first set with a row of graduated half pearls in shared claw settings, mounted in 15ct gold, the second bezel set with a series of graduated Corallium Rubrum cabochons, mounted in 18ct gold, London hallmark, ring sizes R and S respectively. £360-£460 --- Please note coral is covered by CITES legislation and may be subject to import/export and trade restrictions and USA Fish and Wildlife regulations. Please be aware that it is the buyer’s responsibility to arrange any CITES export license for their purchases. More information can be found at www.cites.org.
A late 18th century mourning ring and a mid 19th century mourning ring, the first depicting a grieving woman beside a tomb, mounted in gold, closed-back navette-shaped setting, the second with black enamel and a seed pearl forget-me-not, mounted in gold, (both damaged), ring sizes Q and L. £100-£200
A Volkswagen Leisure Drive HT Crusader campervan, first registered December 1985, registration number C643 VFA, recorded mileage 35,743, last MOT expired in 2020 -We are selling this campervan on instructions from the solicitors of a local estate. It has not been used for some time and is in need of renovation. We have had the car looked at and it needs a new battery and alternator and belt for it to go. The engine was started by the garage. MOT details can be seen on GOV.UK website. It will be bought as seen.
A near pair of Sitzendorf five light candelabra, 20th century first quarter, each with raised central sconce and four arms, the branches heavily encrusted with stylised foliate decoration, above a baluster form body, raised on a tripod base with scroll feet, blue marks to bases52.5cm highCondition report: Historic repairs evident throughout, most noticably one of the arms has been glued back on, central terminal to the other candelebra is cracked in serveral places .Other wear throughout, expect minor losses due to the delicate nature of the applied floral decorationUsed
A collection of seven Bilston and Battersea enamel boxes, including examples with lids depicting a fishing scene, hunting scenes, ducks and Christmas 1974, and two further musical examples; the first with a lid depicting a musical scene with a woman at a piano, playing the tune of Le Cygne from ‘Carnaval Des Animaux’ by Camille Saint-Saëns, the second with a lid depicting musical instruments with a ribbon garland (7)Condition report: First music box in good working order. The second music box does not play its tune. Hinged lid broken on one of the hunting scene boxes. Minor scratches and wear.
A collection of Art Deco compacts,comprising a Mondaine example, formed as book, 7.8cm long, a Tokalon example, decorated with dragonflies, 5.3cm diameter, an Austrian example, with enamelled geometric decoration, 10cm diameter, another similar example, marked ‘Rowenta’, 10cm diameter, four rectangular examples, each with black enamel, a ‘bullseye’ type, a gilt metal example, decorated with a ship, together with three cigarette cases, the first with a map of the United Kingdom, 11cm long, a similar chrome and enamelled example and an Art Deco celluloid cigarette, with a hand form clasp, 9cm wide (13)Condition report: Celluloid case lid detached but present. Wear, knocks and losses to finishes throughout.
A painted sign from the Lovejoy television series, 'Art Classes Every Sunday with Ashley Wilkes' as seen in episode 16 tilted 'One Born Every Minute'.92cm high 131cm wide together with a drawing of Pinchpools Farm, Mauden, where the episode was shotEpisode first shown Feb. 10 1991. 'Lovejoy is intrigued by a painter using the name Ashley Wilkes, squandering his talent on kitschy paintings of cottages and seducing the lady of the house'.Condition report: Sign - on thick plywood, fairly tatty, dust covered and dirty, barn stored since 1990's.Picture -
*Clifford Charman (1910-1992)View of a town with castle, c.1950signed 'Clifford Charman' verso, oil on canvas38.5 x 45.5cm;together with two further examples by the artist'Poole';Town scenethe first inscribed as titled and dated '1964', felt-tip penboth 21.5 x 27cm (3)Provenance: 'View of a town with castle' - artist's studio sale, Bonhams.*Artist's Resale Right may apply to this lot.Condition report: Painting: Not viewed under UV light, some paint loss to the lower right corner, slight bulging from the stretcher. Well-presented in beautiful frame. Drawings: not viewed out of glazed frames, light time staining to both, otherwise they appear to be in generally good condition.
A Senna Boteh rug,177 x 125cmtogether with a Bokhara rug, 162 x 107cmand another similar example,121 x 103cm (3)Condition report: Senna Boteh) Losses and wear throughout.First Bokhara) Even wear throughout. No obvious holes. Losses to tassels. Second Bokhara) Large repair to the centre. Losses to the outside.
A pair of walnut Savonarola style X frame elbow chairs, 19th century, Spanish or Italian, each with carved detail, and gilt-tooled leather seat and back depicting a lion rampant crest, on paw feet, 55.5cm wide 46cm deep 73.5cm high, seat 43cm highCondition report: First chair) Leather back split in two places and coming away from the frame. Leather seat is heavily worn. Visible flight holes to the arms and feet. Second chair) Leather seat split down the middle. Marks and wear to the frame.
VINTAGE TABLE & POCKET LIGHTERS (4), silver thimble/needle case and a white metal model of an owl, the lighters include a Wedgwood black Jasperware table lighter with City of London crest, 9.5cms H plus a gold plated and two other Ronson pocket lighters, the first with leather pouch, the silver bodkin case containing a brass thread winder and miniature pair of scissors
VICTORIAN CHESTER SILVER CASED SINGLE FUSEE POCKET WATCHES (2), the first example 1873 with white enamel dial marked 'Bevan Birkenhead', set with Roman numerals and Arabic subsidiary seconds dial, the movement engraved 'Edward Bevan, Birkenhead', No 4347 with dust cover, appears working when listed, attached silver Albert with clip, T bar and swivel fob plus additions, with winding key, 43mm case diameter, 5ozt gross complete, the other dated 1898 marked 'D L Griffith, Denbigh', to a white enamel dial set with Roman numerals and Arabic subsidiary seconds dial, the movement engraved with similar detail, numbered 7283, no dust cover, not currently running, chain loose, 53mm case diameter with multi-size winding key, 4ozt gross
Royal Doulton miniature Monica HN1467; Cissie HN1809; Bo-Peep HN1811; Valerie HN2107; Goody Two Shoes HN2037; Southern Belle HN3174 (two); Christmas Morn HN3212; Buttercup HN3268; Diana HN3310; Rebecca HN3414; My First Figurine HN3424 (two); Christine M200; Buttercup M211; Barbara M219; and a small collection of Brambly Hedge and Bunnykins items.
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