JESÚS RAFAEL SOTO (Venezuela, 1923 - France, 2005).Untitled, ca. 1992, from the Suite Olympic Centennial.Silkscreen on Vélin d'Arches paper, copy 58/250.Signed and dated in pencil in the lower right corner.Measurements: 63 x 90 cm.Venezuelan artist formed in the School of Art of Caracas, Jesús Soto was an outstanding representative of the kinetic art, which he initiated and developed at the end of the fifties. Between the seventies and the nineties, already fully consecrated at the international level, he held important exhibitions in places such as the MOMA and the Guggenheim in New York, the Georges Pompidou Center in Paris, etc. He also participated in the 1966 Venice Biennial and the 1996 São Paulo Biennial. Especially famous for his penetrable sculptures, he also carried out projects such as the decoration of the main hall of the Teresa Carreño Theater in Caracas. Soto was awarded Venezuela's National Plastic Arts Prize, and in 1973 the Venezuelan government inaugurated a museum in his honor in his native Ciudad Bolivar. He is currently represented in important collections such as the Guggenheim Museum in New York.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.
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RAFAEL CANOGAR GÓMEZ (Toledo, 1935).Untitled, 1991, from the Suite Olympic Centennial.Silkscreen on 270 grams Vélin d'Arches paper, copy 58/250.Signed, dated and justified by hand.Measurements: 90 x 63 cm.Disciple of Daniel Vázquez Díaz, Canogar was co-founder of the group "El Paso", and during the fifties he developed a fully informalist work, which drifts during the sixties in a complex figuration increasingly narrative. During his mature stage, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expresses through the mask, the head, the face, as a representation of the man who loses his individuality and becomes a plastic sign, as can be seen in the work we now present. His awards include the National Prize for Plastic Arts (1982), he is a member of the San Fernando Academy, and is represented in the most important modern art collections around the world, such as the Reina Sofia Museum, the MOMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburg, the Rufino Tamayo Museum in Mexico, and the Chicago Art Institute, among many others.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent diverse contemporary artistic trends. It was published to commemorate the first centennial of modern Olympism. The chosen artists are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.
DAVID BRUSH (Madrid)."Pollock as pretext".Mixed media on canvas glued to board.Signed and dated in the lower right corner. Signed, dated and titled on the back.Measurements: 60 x 120 cm.Self-taught, Davis Brush began in the art world through the inspiration of his daughter. His work has a great influence of artists such as Jackson Pollock (1912-1956), Karel Appel (1921-2006) and Willem de Kooning (1904 - 1997). He opened his first solo exhibition "Feria de Colores", in April 2018 in Boadilla del Monte, Madrid, which was followed by numerous exhibitions. Example of this is the Solo Exhibition in Cielo de Urrechu (pozuelo de Alarcón) in September 2019. Group Exhibition at the Santana Art gallery in which he exhibited his pieces alongside works by artists such as Francisco de Goya, Joaquín Sorolla, Wifredo Lam, Pedro Sandoval, Palomo linares, Juan de Arevalos, Juan Genovés among others. He has also participated in La casa de la Cultura de Ugena (Toledo) in December 2019. It highlights in turn two solo exhibitions held in Ópera gallery (Barcelona) and in Ceart Tomás y Valiente 2020-2021. In 2019 he was awarded the Revelation Award, given by the Pro Art and Culture Group, Mayte Spínola. Today his work can be seen in both national and international collections, highlighting countries such as Italy, Belgium, Holland and France among others.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Càntic del Sol, Franz von Assisi", 1975.Color etching with aquatint on Velin d'Arches paper, copy 6/12.Ediciones Polígrafa, Barcelona.Signed and numbered in pencil in the lower margin.Work published in "Miró engraver", Jacques Dupin Rizzoli NY 1989, ref. Dupin III 865.Provenance: private collection U.K Gildens Fine Art, London.Measurements: 39,5 x 52 cm. (print); 51,5 x 62,5 cm.(paper); 80 x 102 cm. (frame).Graphic work of very few copies, 11 more worldwide, characterized by its overwhelming simplicity, inspired by the poetry of Francis of Assisi.Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
CELSO LAGAR ARROYO (Ciudad Rodrigo, León, 1891 - Seville, 1966)."Female nude".Oil on canvas.Signed in the upper right corner.Attached certificate issued by the Lagar Archive.Measurements: 68 x 50 cm; 78 x 60 cm (frame).Celso Lagar offers us in this canvas a female nude captured from life. For it he uses an energetic language that seeks above all to capture the volumetry and the geometric game, although he maintains descriptive details that avoid the loss of realism. The woman shows the viewer practically her entire naked body, since only the lower part of her legs remains outside the perimeter of the support.Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric center. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Bacchanale", ca. 1959. Color etching and aquatint on BFK Rives paper, copy 15/300. Signed and justified by hand. Published by Crommenlynck of Paris. A note on the back specifies the use of 15 colors including 5 different whites. Measurements: 46.4 x 55.9 cm (print); 53 x 76 cm (paper); 89.5 x 97.5 cm (frame).. The bacchanals were a theme very cultivated by Picasso, from his interest in classical mythology, through which he filtered his most intimate vision of life, desire and melancholy. Creator of Cubism together with Braque, Picasso was a turning point in the history of art. He began his studies in 1895, at the School of Fine Arts in Barcelona, and only two years later he had his first individual exhibition, at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled definitively in the French capital in 1904. The definitive international recognition will come in 1939, as a result of the retrospective that the MOMA in New York dedicates to him. During the following decades, anthological exhibitions will be dedicated to him all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.
"LAXEIRO"; JOSÉ OTERO ABELEDO (Lalín, Pontevedra, 1908 - Vigo, 1996)."Maternity", 1948.Charcoal on paper.Signed, dated and located (Vigo), in the upper right area.Measurements: 132 x 125 cm; 137,5 x 131 cm (frame).The maternity was a recurrent theme in Laxeiro's work, which started in a certain way from a religiosity based on the figure of the Virgin with the Child, replacing the figure of the mother, by a woman of round volumes, representation of the Galician woman. This work in particular is part of the cataloging of the archives of the Laxeiro Foundation, which in 2005 organized an exhibition with several drawings by the artist, thus demonstrating its intention to address the broad task of cataloging all his drawings.Laxeiro began his training as a child in Botos (Pontevedra), where he had Teresa López as his first teacher. Shortly afterwards, in 1921, he emigrated to Cuba with his family. There he worked in crafts through which he approached the world of art, from engraving to glassmaking. He attended drawing classes and worked as an assistant to the Catalan Manuel Roig, choreographer of the Martí Theater. In 1925 he visited the exhibitions held in Cuba of Zuloaga and Jesús Corredoyra, and worked designing artistic stained glass. However, due to a serious illness he had to return to Spain, settling in Lalín. At this time he left professional painting aside, and established himself as an itinerant barber in 1926, often portraying his clients and various popular types. Two years later he began to make himself known, publishing vignettes in the "Faro de Vigo". The following year he also published his illustrations in "El Pueblo Gallego". In 1930 he receives painting classes from the Argentinean painter Enrique Larrañaga, in Vigo, and the following year he receives a scholarship from the City Council of Lalín to continue his artistic studies in Madrid. He enters then as a free student in the Academy of Fine Arts of San Fernando, and at the same time he frequents the gathering of the Granja del Henar. He returned to Galicia in 1933 and began to hold exhibitions, making his individual debut in 1934 at the Faculty of Philosophy and Letters in Santiago de Compostela. After the war he settled in Pontevedra, where in 1940 he began his teaching career at the Valle-Inclán Institute. In the following years he obtained pensions from the Provincial Council, and resumed his exhibition career in Galicia, Madrid and Bilbao. In 1951 he was invited to hold an exhibition in Buenos Aires, the city where he finally decided to settle. In the seventies he returned definitively to Spain, living between Pontevedra and Madrid, exhibiting all over Spain, already as a fully recognized author. His awards include the Medal of the Biennial of Pontevedra, the Castelao Medal of the Junta de Galicia and the Gold Medal of the City Council of Vigo. He has his own museum in that city, as well as a monographic room in the Castrelos Museum and a wide representation in all Galician museums, as well as in numerous private collections in Spain and America.
MARÍA GUTIÉRREZ BLANCHARD (Santander 1881 - Paris 1932)."Woman's head", 1932.Oil on canvas.Work reproduced in the catalog raisonné of the artist, p. 660- 661 nº 309.Signed in the lower left corner (MB). Signed and dated on the back.Measurements: 60 x 50 cm; 62 x 52 cm (frame).In this portrait made in the last year of the artist's life, the author presents us with a work in which she unites and harmonizes all the plastic experiences that were part of her artistic trajectory. For this reason Blanchard conceives a portrait of cubist heritage, an influence that can be seen in the chromatic range based on ochers and grays, and in the treatment of the background, which seems to pounce on the figure, totally reducing the spatiality. However, Blanchard does not abandon realism, but forms a portrait of recognizable forms, heir to the portrait tradition and also brings a mature vision, typical of his last stage, defined through the use of a broad, fast and vibrant brushstroke, thus obtaining a work that stands out for its expressionist aesthetic.María Gutierrez Blanchard, usually known by her mother's surname, trained as a painter in Madrid, where she moved in 1903. Here she studied under the guidance of the painters Emilio Sala and Álvarez de Sotomayor. In 1909 she obtained a scholarship from the Diputación de Santander to study in Paris. In the French capital he received classes from Anglada Camarasa and Kees van Dongen, freeing him from his academic training and introducing him fully into the world of avant-garde art. In 1914 he returned to Madrid and began to attend Ramón Gómez de la Serna's gatherings at the Pombo café, participating in the controversial exhibition "Pintores íntegros". After devoting himself temporarily to teaching in Salamanca, in 1916 he returned definitively to Paris. From that year until 1920 he developed a cubist stage in which figurative references never disappeared. He was part of the Parisian cubist group and became friends with some of its members, such as Juan Gris, Lipchitz and André Lhote. In the 1920s he exhibited in exhibitions organized in Paris and Belgium. Among the works of his first stage stands out "The Communicant", presented with great success at the Salon des Indépendants in 1921. Between 1920 and 1932 he returned to a type of figurative painting, although cubist from the compositional point of view, in which the light treatment generates cottony textures. In Spain there have been two anthologies dedicated to the painter, one at the Biosca Gallery in Madrid (1962) and the other at the former Spanish Museum of Contemporary Art (1982). Maria Blanchard was both a great painter and a theoretician, since she organized gatherings in her Paris apartment, where different artists, including Juan Gris, discussed painting and the new trends that were taking place at the time.
CHU TEH-CHUN (Baitou Zhen, Jiangsu, China, 1920-2014).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gram Vélin d'Arches paper, copy 58/250.Signed, dated and justified in pencil.Measurements: 63 x 90 cm.Chu Teh Chun is one of the most successful contemporary Chinese painters. He was born in 1920 in Jiangsu Province. His artistic inclination comes from the cradle, since his family was composed by doctors and collectors of Chinese painting. He began studying art at the age of 15 at the Hangzhou Academy of Fine Arts and became a professor at the National Central University of Nanking. In 1949 he moved to live in Taiwan, becoming a professor of art at the National University. In 1955 he moved to Paris to learn from the best and began exhibiting in the city of lights. There he frequented the artists of the School of Paris such as Pierre Soulages, Hartung or Mathieu, and his art met an initial success that spread abroad thanks to group exhibitions in which he presented his work (Pittsburg, Jerusalem, Athens, Sao Paulo). In 1987, the National Museum of Taipei organized an important retrospective for him: it was his first return to his native country. In 1997 he is elected to the Academy of Fine Arts of the Institute of France. For the ''Year of China in France'' in 2004, no less than four exhibitions are dedicated to him. And in 1997, he was the first Chinese artist to be elected as a member of the prestigious Academy of Arts and Letters in Paris. His artistic goal since then has been to unite Eastern and Western art without abandoning his Chinese artistic roots, which gives him this exclusivity. His works, practically all of them abstract, are Chinese landscapes, very poetic, that instead of showing, suggest rocks, waterfalls, mountains, colorful clouds... allowing the viewer to feel what is in each work. His work exudes energy and vitality having a life of its own. They are incredible compositions that intermingle romantic and abstract styles to give the works a special significance. Thanks to the opening of mainland China to the outside world, today, Chu Teh Chun is known and greatly praised in his homeland, where he has held countless exhibitions.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by diverse pictorial movements and trends.
GOTTFRIED HONEGGER (Zurich, 1917-2016)."Untitled," 1988.Mixed media on canvas.Signed and dated on the back.Measurements: 75 x 75 cm.An outstanding exponent of concrete art, Gottfried Honegger remained faithful to the postulates of this abstract movement until the end of his days. This minimalist work that we present here belongs to a period of maturity of the artist, in which he already enjoyed international recognition and his utopian postulates had had an impact on the art world.Gottfried Honegger was a Swiss artist and collector. He studied window dressing at the Zurich School of Art, and taught there from 1948. His early work was in commercial graphic design. Between 1955 and 1958 he was art director at Geigy. He lived in New York from 1958 to 1960, and held his first exhibition there. In 1961 he moved to Paris and concentrated on painting, focusing on the exploration of the circle and the square; from 1968 he worked in sculpture. Honegger also spent some time in Texas, as an artist-in-residence at the University of Dallas. Gottfried Honegger was one of the most original creators of concrete art, recognized in both the United States and Europe. He was the author of numerous monumental works. He worked with variations on the same theme: volume, structure, stelae.... While maintaining the influence of the concrete art of Max Bill and Lhose Richard, Honegger resorted in the 1960s and 1970s to a certain vertical mathematical programming. The use of computers allowed him to develop his plastic research. He was awarded the Order of Arts and Letters under the direction of Jack Lang at the French Ministry of Culture; in 1999 he became a member of the Legion of Honor. Together with Sybil Albers, he created in 1990 the Espace de l'Art Concrète (Mouans-Sartoux), from their collections. In 2015 the Pompidou Center in Paris had dedicated a retrospective to this singular artist, whose works are in the collections of several major museums, such as the MoMa in New York.
VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Bachcantata".1989.Mixed media on canvas.Signed, dated and titled on the back.Measurements: 146 x 114 cm; 150 x 118 cm (frame).Sculptor, painter, engraver and writer, his formation was basically self-taught. When he was eighteen years old, he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Soon after he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. After spending some time between Madrid and Germany, he moved to Barcelona in 1977. In 1979 he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 2003, shortly before his death, he received the award for best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Mira's works are held in museums and private collections around the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Montroig 4", 1974.Lithograph on Guarro paper, copy 26/30.Ediciones Polígrafa, Barcelona.Signed and numbered in pencil in the lower margin.Work published in "Miró lithographer", vol V, pg 93, ref. 956.Provenance: Masterworks Fine Art Gallery Oakland California, private collection Vancouver, Canada.Measurements: 75.5 x 55.5 cm; 98 x 78.5 cm (frame).This is an exclusive work because it is only 30 copies, and above all it is emblematic in that its title refers to Montroig del Camp, the Catalan village linked to Miró's childhood and an essential emotional landscape for the gestation of his work.Joan Miró was trained in Barcelona, and made his individual debut in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, 1992.Lithograph on 270 grams Vélin d'Arches paper, copy 58/250.Signed and justified in pencil.Measurements: 90 x 63 cm.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. In the French capital he held his first sculpture exhibition in 1950. In 1951 he returned definitively to San Sebastian, and made his first work in iron, the material with which he would work for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation of the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts of London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
CESAR MANRIQUE (Lanzarote, 1919 - 1992)."Untitled", 1981.Mixed media on thick handmade paper.Signed and dated in the lower right corner and on the back.Measurements: 24 x 32 cm; 56 x 64 cm (frame).Painter, sculptor and architect, Manrique was formed between Lanzarote and Madrid, where he studied at the Escuela Superior de Bellas Artes de San Fernando. In 1942 he made his individual debut in Lanzarote, and during the fifties, with the rise of surrealism, he founded the Fernando Fe gallery, the first non-figurative gallery in Spain. During these years he painted several murals in Lanzarote and exhibited his work in several countries. In 1964 he moved to New York where he exhibited, among others, at the Catherine Viviano Gallery. Two years later he settled definitively in Lanzarote where, together with the architect Fernando Higueras, he undertook various projects on the island. In 1992, a few months before his death in a traffic accident, the Foundation that bears his name was inaugurated in Lanzarote. His artistic work earned him awards such as the Gold Medal of Fine Arts (1980), the Goslarer Monchenhsus Prize in Germany (1981), the Van D'Aheod Prize in the Netherlands (1982) and the Fritz Schumacher Prize in Hamburg (1989), among others. He is currently represented at the Museo de Arte Abstracto Español and the Centro Atlántico de Arte Moderno, among other centers and collections.
EDUARDO ARROYO (Madrid, 1937-2018). "Personaje". Collage on paper. Signed in the lower left corner. With coaster of the Hotel Monasterio San Miguel (Puerto de Santa María) in the upper left corner. Measurements: 43 x 31 cm; 71 x 56 cm (frame). Painter, sculptor and engraver, Arroyo stands out as an important figure within the neo-figurativist movement. A key figure in the new Spanish figuration, Arroyo came to prominence on the national art circuit only belatedly, in the 1980s, after a two-decade-long period of estrangement forced by the Franco regime. Currently, his works hang in the most reputable Spanish museums and his creativity extends to theatrical scenographies and illustrated editions. Arroyo began his career in journalism, finishing his studies in 1957. He then left for Paris, fleeing the asphyxiating Spanish political climate of the time. Although his first vocation was as a writer, a task he continues to this day, by 1960 he was already making a living as a painter. That year, he participated for the first time in the Salón de Pintura Joven in Paris. His critical attitude towards dictatorships, both political and artistic, pushed him to controversial initiatives. He opted for figurative painting during the years of the overwhelming dominance of abstract painting in Paris, and his first themes were reminiscent of "black Spain" (effigies of Philip II, bullfighters, dancers), worked in a caustic and unromantic key. At the beginning of the sixties his plastic vocabulary moved under the North American influence of pop art, and in 1964 his break with informal art became definitive. His first public impact came in 1963, when he presented a series of effigies of dictators at the Third Paris Biennial, which provoked protests from the Spanish government. That same year, Arroyo prepared an exhibition at the Biosca Gallery in Madrid, which was inaugurated without his presence since he had to flee to France, pursued by the police; the exhibition was censored and closed a few days later. However, Arroyo's figurative option took a long time to be accepted in Paris. The painter rejected the unconditional devotion to certain avant-gardists, such as Duchamp or Miró, which he considered imposed by fashions. Actually, his interest is to demystify the great masters and defend the role of the market as protector and thermometer of art, as opposed to the network of museums and influences paid for with public money. In 1974, Arroyo was expelled from Spain by the regime, and he would not recover his passport until Franco's death. However, his critical takeoff in Spain was not immediate, and would be delayed until the early eighties. In 1982 he was awarded the National Prize for Plastic Arts, and anthological exhibitions were dedicated to him at the National Library in Madrid and the Pompidou Center in Paris. Currently, Arroyo is represented at the Museo Nacional Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, the Hirshhorn Museum and Sculpture Garden in Washington D.C. and the Museo de Arte Moderno in Lille (France), among others.
ANTONI TÀPIES (Barcelona, 1923-2012).Untitled, ca.1950.India ink on paper.Signed in the lower right corner.Attached certificate issued by the Comissió Tàpies with ref. T-9943.Measurements: 45,5 x 31 cm; 77 x 60 cm (frame).This important drawing by Tàpies belongs to the first stage of Dau al Set (1948-1955), years in which the artist was permeable to a diversity of avant-garde manifestations, especially surrealism and literature linked to the unconscious and magical realism. This is evident in this composition populated by objects of ambivalent interpretation and suggestive hermetic echoes: the pyramid, the solar eclipse, the crescent moon, the muse on the divan, the enigmatic being with a masculine body, the dragon with the Japanese theater mask... The coded clues branch out and intertwine in rich palimpsests, already hinting at the semantic and mystical deployment that will characterize Tàpies' painting.Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prix de Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
BENGT LINDSTRÖM (Sweden, 1925-2008). Nº2 Pasan Modele, 1984. Oil on canvas. Signed in the lower right corner. Titled and dated on the back. Size: 200 x 130 cm; 203 x 133 cm (frame). Lindström was one of Sweden's best known contemporary artists with a characteristic and personal style in which he fused a multitude of colors, in which he often included figurative elements, sometimes distorted. He began his development in artistic Stockholm, and later moved on to Copenhagen, Chicago and Paris. His experiences helped him develop his own style. A unique style that would make him recognized worldwide. Stylistically Bengt's early years as an artist reveal a strong influence from local Norrland artists. Although he once moved to Paris after his short stay at the College of Arts, Crafts & Design, Bengt studied with Isaac Grünewald in Stockholm for a year. Grünewald was one of the pioneers of Swedish modernism and had studied with influential artists such as Matisse. Bengt found inspiration in this new aesthetic and began to develop his style from these premises. He abandoned Norrland landscape motifs and attempted to develop a modern style. During this period, he was strongly inspired by Picasso, Matisse and other leading artists in the avant-garde movement. When World War II ended, Bengt studied in Copenhagen at the Academy of Art under Aksel Jørgensen during 1945-1946. There he first experienced contemporary art through the basic expressions and myths of what later became the COBRA movement. Subsequently, he crossed the Atlantic to Chicago, where the Art Institute of Chicago provided new insights through the abstract expressionism of Pollock and De Kooning. But it was Paris that attracted him, as Paris once again became the international center of arts and culture. After spending a year in Chicago, the dream of France became a reality. In the summer of 1947, Bengt arrived in Paris with nothing but a few dollars he had won in late night card games with other artists and shady characters from the Chicago underworld. The first few years in Paris were difficult although Bengt was extremely productive but sold almost nothing. During this time, under the guidance of his teachers André Lhote and Fernand Léger, Bengt experimented with a wide variety of techniques. By the mid-1950s, collage was the dominant technique, he also tried working in mosaics for a year, only to switch completely to silkscreen the next year. During this stage he was forced to paint in black and white during this period because he could not afford to buy colors. If he unexpectedly got hold of some colors, he would mix them with leftover powder paint to stretch them. The turning point came in the late 1950s, when a British art dealer who traveled to Paris in search of "unusual" artists bought several of his paintings. With the money from this first sale, Bengt Lindström was finally able to paint the way he wanted to. The first thing he did was to buy suitable paints and canvases. Making pieces with thick layers of yellow, red, green and blue replaced the black and white; and because of his increasingly strong brushstrokes, the paintings took on a new dimension. The abstract and expressionistic quality of his images became more obvious. The landscape paintings gradually disappeared, replaced by the distorted mask-like faces and, later, the Nordic mythology that has characterized his art ever since. Abandoning correct anatomy and representation and concentrating instead on colors and texture, Bengt thus found his way to articulate the primitive and violent qualities he had been searching for in the mountains and forests of northern Sweden. Because of their frenetic combination of composition and color, Bengt Lindström's paintings emerged on a border between internal complexity and external simplicity. During the 1960s, he carved out a position as one of Sweden's greatest contemporary artists, with exhibitions in cities such as Paris, London, Brussels, Cincinnati and Tokyo. Bengt became particularly highly regarded in southern Europe. In Italy he was given the nickname "Vento del Nord" (North Wind) because of his vivid colors and strong brushstrokes. Many people associated his style with Sami culture. Bengt was an extremely productive artist and held several exhibitions per year in various locations around the world.
Rolex. An 18K gold automatic bracelet watch with original papersModel: Oyster PerpetualReference: 6085Date: Purchased 30th June 1952Movement: Jewelled automatic, No.F39207, 07337Dial: Champagne waffle with red Officially, applied gilt dart hour markers, outer 1/5th second divisions with luminous 5 minute markers, gilt dagger hands with luminous inserts, centre secondsCase: Brushed and polished tonneau form, screw down back and crown, fluted bezel, No.794110Strap/Bracelet: Fitted 18K gold expandable rivet Oyster linkBuckle/Clasp: Signed folding clasp, date coded 1 52Signed: Case, dial & movement Size: 34mm Accompaniments: Original Guarantee and Chronometer CertificateFootnotes:The current lot is offered for the first time at auction from the family of the original owner. Included in the lot are the original papers from when the watch was purchased in 1952.The 6085 was launched in the early 1950's featuring the traditional Rolex 'Oyster' case shape. As well as having the original box and papers, this particular example is made even rarer due to the fact it features a champagne 'waffle' dial and the word 'officially' is written in red.For further information on this lot please visit Bonhams.com
Vacheron & Constantin. An 18K gold manual wind wristwatch with hack secondsModel: Chronomètre RoyalReference: 6067Date: Circa 1955Movement: 18-jewel Cal.P1007 manual wind, adjusted to temperature, Seal of Geneva, No.507780Dial: Silvered, applied gilt bullet baton hour markers with pointed baton quarters, black outer minute divisions with 5 minute markers, subsidiary seconds at 6, gilt faceted dagger handsCase: Polished round, snap on back, Maltese cross stylised lugs, No.350949Strap/Bracelet: Associated green faux crocodile leatherBuckle/Clasp: Associated gilt buckleSigned: Case, dial & movement Size: 34mm Accompaniments: Vacheron & Constantin boxFootnotes:Vacheron & Constantin first began using the Chronomètre Royal name in 1907 when the brand first launched pocket watches bearing this prestigious name. From the 1950's the name was only used on watches with a chronometer certified movement. These were among the first wristwatches with hacking seconds and certified as chronometers for civilian use.For further information on this lot please visit Bonhams.com
Rolex. A stainless steel automatic calendar bracelet watchModel: GMT Master 'Pepsi'Reference: 1675Date: Circa 1972Movement: 26-jewel Cal.1570 automatic, adjusted to 5 positions and temperature, No.D589266Dial: Black, luminous filled dot hour markers, baton quarters, outer minute divisions, magnified date aperture at 3, polished Mercedes hands with luminous inserts, centre seconds, further red arrow tipped dual time zone handCase: Brushed and polished tonneau form, screw down back and shouldered crown, inner case back stamped II.72, blue and red 'pepsi' bezel insert, No.3183418Strap/Bracelet: Fitted brushed and polished 7836 Oyster link, end links stamped 380Buckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 39mmFootnotes:The Rolex GMT was launched in 1954 after the Transatlantic Airways company asked Rolex to produce a watch useful for their pilots. It quickly gained favour among the Pan-Am executives and the business jet-set community as a whole.Offered continuously since its introduction with relatively little modification it is perhaps, along with the Submariner, the most classic Rolex 'tool' watch made. The reference 1675 began production 80 years ago in 1960. This was the first GMT Master reference to feature protective crown guards as well as the smaller triangular tip on the second hour hand.For further information on this lot please visit Bonhams.com
Omega. A stainless steel manual wind chronograph wristwatchModel: Speedmaster 'Ed White'Reference: ST 105.003.65Date: Produced 1966Movement: Rose gilt 17-jewel Cal.321 manual wind, column wheel chronograph, No.24952001Dial: Black, luminous baton hour markers, white outer 1/5th second divisions, subsidiary dials at 3, 6 and 9 for constant seconds, 30 minute and 12 hour recording, white pointed baton hands with luminous inserts and centre chronograph handCase: Brushed and polished tonneau form, screw down back, tachymetre to bezel with black insert, inner cap, signed crown flanked by twin pushersStrap/Bracelet: Brown alligator leatherBuckle/Clasp: Steel Omega buckleSigned: Case, dial & movement Size: 38mm Accompaniments: Certificate of AuthenticityFootnotes:In 1965 Edward 'Ed' Higgins White (1930-1967) was the first American to 'walk in space'. The Omega Ref.105.003 has been coined the 'Ed White' as it was on the wrist of White during this historic milestone in space exploration.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Universal. A stainless steel manual wind triple calendar chronograph wristwatch with moon phaseModel: Tri-Compax 'Clapton'Reference: 881101/01Date: Circa 1970Movement: 17-jewel Cal.281 manual wind, column wheel chronographDial: White, black baton hour markers, outer black 1/5th second divisions with luminous dot 5 minute markers, day and month apertures at 2 and 10, black subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, moon phase combined with calendar at 12, polished tapering baton hands with luminous inserts, blued steel centre chronograph handCase: Brushed and polished round, screw down back, fixed bezel with tachymetre scale, twin chronograph pushers, quick set buttons at 8 and 10Strap/Bracelet: Black leatherBuckle/Clasp: Associated steel buckleSigned: Dial & movement Size: 36mmFootnotes:Star guitarist Eric Clapton has often been hailed as the first celebrity watch collector, known in the community for his impressive collection and impeccable eye. The Universal Genève Tri-Compax ref. 881101 has been nicknamed 'The Clapton' because it was seen on his wrist as early as 1967, the year the model was first introduced.Powered by the famous caliber 281, this chronograph movement is equipped with a triple calendar complication and moon phase. The seconds and chronograph registers are situated at 3, 6 and 9 o'clock. At noon, the dial features an aperture for the moon-phase and a subsidiary dial to show the date. On both sides, two further apertures reveal the day and the month. Of all the different Tri Compax varieties the Clapton is perhaps the most stunning and instantly recognisable with its black tachymeter bezel and the red accented panda dial. The high contrast dial and curved bezel make this a true vintage classic.For further information on this lot please visit Bonhams.com
Rolex. A stainless steel automatic bracelet watchModel: SubmarinerReference: 5513Date: Circa 1968Movement: 26-jewel Cal.1520 automaticDial: Black, luminous dot hour markers, baton quarters, white outer minute divisions, polished Mercedes hands with luminous inserts, centre secondsCase: Brushed and polished tonneau form, screw down back, shouldered screw down crown, bi-directional bezel, No.1833880Strap/Bracelet: Brushed 93150 Oyster linkBuckle/Clasp: Signed folding clasp, stamped OP12Signed: Case, dial & movementSize: 39mm Accompaniments: Rolex pouchFootnotes:Rolex introduced the reference 5513 in 1962, and produced the reference until the mid-1980's. The model is recognizable by its lack of date feature, allowing the dial to have a well-balanced design. Early examples of the 5513 featured a glossy black dial with gilt text, and in the mid-1960's, Rolex started producing the reference with a matte dial and white printing. These dials featured the depth rating with meters indicated first '200m=660ft', and towards the end of the 1960's Rolex began producing dials with the depth rating that indicated feet first as with the present example.For further information on this lot please visit Bonhams.com
Rolex. A stainless steel automatic calendar bracelet watchModel: Sea-Dweller 'Great White'Reference: 1665Date: Purchased 11th April 1986Movement: 26-jewel Cal.4570 automatic, adjusted to 5 positions and temperature, No.D783576Dial: Matt black, luminous dot hour markers, baton quarters, white outer minute divisions, date aperture at 3, polished Mercedes hands with luminous inserts, centre secondsCase: Brushed and polished tonneau form, shouldered screw down crown, calibrated bezel, helium escape valve at 9, No.6675991Strap/Bracelet: Brushed and polished 93150 Oyster link, end links stamped 585Buckle/Clasp: Signed folding clasp, stamped FSigned: Case, dial & movement Size: 40mm Accompaniments: Punched Guarantee Certificate, swing tag Footnotes:The Rolex Sea-Dweller was first launched in the 1960's having been specially developed for deep-sea divers. Saturation divers who had previously been issued with Rolex Submariners found that during decompression, the pressure inside the watch would force its way out through the weakest point which usually resulted in the loss of the plexiglass. In response to this, Rolex developed the Sea-Dweller. With a helium escape valve on the side, a greater depth rating of 610 meters and the removal of the cyclops from the crystal, the Sea-Dweller is a true tool watch and has been favoured by professional divers ever since its introduction.This particular version of the reference 1665 succeeded the Double Red Sea-Dweller in 1977. The most noticeable difference was that the red text on the dial was replaced with white text, earning the watch nickname 'Great White' amongst collectors.For further information on this lot please visit Bonhams.com
Rolex. A stainless steel automatic calendar bracelet watch with dual time zoneModel: GMT Master 'Pepsi'Reference: 1675Date: Circa 1975Movement: 26-jewel Cal.1570 automaticDial: Black, luminous dot hour markers, baton quarters, outer minute divisions, magnified date aperture at 3, polished Mercedes hands with luminous inserts, centre seconds, further red arrow tipped dual time zone handCase: Brushed and polished tonneau form, screw down back, shouldered crown, bi-directional blue and red 'pepsi' bezel insert, No.4013890Strap/Bracelet: Fitted brushed 78360 Oyster linkBuckle/Clasp: Signed folding clasp, stamped RS6Signed: Case, dial & movementSize: 39mm Accompaniments: Rolex service pouch, International Service Guarantee card dated February 2020, spare links, brochureFootnotes:The Rolex GMT was launched in 1954 after the Transatlantic Airways company asked Rolex to produce a watch useful for their pilots. It quickly gained favour among the Pan-Am executives and the business jet-set community as a whole.Offered continuously since its introduction with relatively little modification it is perhaps, along with the Submariner, the most classic Rolex 'tool' watch made. The reference 1675 began production over 80 years ago in 1960. This was the first GMT Master reference to feature protective crown guards as well as the smaller triangular tip on the second hour hand.For further information on this lot please visit Bonhams.com
TAG Heuer. A stainless steel manual wind chronograph wristwatchModel: CarreraReference: CS3110Date: Circa 1996Movement: 18-jewel Cal.1873 manual wind, No.5001725Dial: Silvered, applied accented polished baton hour markers, black outer 1/5th second divisions and blue 0-100 markers, sunken subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, polished pointed baton hands with luminous inserts, centre chronograph handCase: Brushed and polished round, screw down back, crown flanked by twin chronograph pushers, No.10537Strap/Bracelet: Black racing leatherBuckle/Clasp: Signed folding claspSigned: Case, dial & movement Size: 35mmFootnotes:The Carrera was first introduced in 1963 and took its name from the infamous Mexican Carrera Panamericana car race. Inspired by the event, Heuer looked to create a watch that would suit the demands of motorsports. The Carrera become a favourite amongst racing drivers thanks to it's clean and legible dial, steel case, faceted lugs, applied markers and slightly stepped sub-dials.For further information on this lot please visit Bonhams.com
Patek Philippe. A lady's 18K gold and diamond set automatic wristwatchModel: Gondolo GemmaReference: 4991R-001Date: Purchased 11th December 2007Movement: 18-jewel automatic, Seal of Geneva, No.3369450Dial: Guilloché engraved centre, black baton hour markers to Mother of Pearl surround, black minute markers, blued steel sword handsCase: Brushed and polished rectangular, exhibition back secured by 4 screws, faceted glass, diamond set faceted bezel and lugs, No.4386575Strap/Bracelet: Tan brown Patek Philippe alligator leatherBuckle/Clasp: Signed 18K gold buckleSigned: Case, dial & movement Size: 36mm Accompaniments: Patek Philippe box, outer card, Certificate of Origin, original purchase receipt, Instructions for use, brochuresFootnotes:Patek Philippe first introduced a lady's version of their celebrated Gondolo line in 1993. Over the years they have played with the dial and case materials presenting the watch in both white and yellow gold, with and without diamonds and also available both on a leather strap or bracelet. The current example features a stunning gold case set with 72 diamonds.This lot is subject to the following lot symbols: Y RY Subject to CITES regulations when exporting items outside of the EU, see clause 13.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Hublot. A Limited Edition black DLC coated ceramic and titanium automatic calendar chronograph wristwatchModel: Big Bang 'Red Devil' Manchester United Special PieceReference: 318.CM.1150RXDate: Purchased 20th November 2005Movement: 55-jewel ETA automatic, No.2892A2Dial: Black, red baton hour markers, yellow outer minute divisions with 5 minute markers, subsidiary dials at 3 and 9 for seconds featuring Red Devil and 45 minute recording, date aperture at 6, black pointed baton hands with yellow inserts, red chronograph handCase: Polished tonneau form, back secured by 6 screws with Manchester United emblem, black Kevlar bezel secured by 6 screws, shouldered screw down crown with twin buttons, No.843218Strap/Bracelet: Black Hublot rubberBuckle/Clasp: Signed black DLC coated titanium double folding claspSigned: Case, dial & movement Size: 45mm Accompaniments: Hublot box, outer card, Certificate of Authenticity, Warranty Card, instruction manualFootnotes:Manchester United are the most successful club in English football having won a record 20 league titles as well as 3 European cups. The team were managed by Sir Alex Ferguson for 26 years and featured many notable players such as Eric Cantona, David Beckham, Rio Ferdinand and Wayne Rooney. In August 2021, 5 time Ballon d'or winner Cristiano Ronaldo agreed to return to the club, 12 years after he'd first departed. Hublot have a long-standing relationship with Manchester United. A 10 metre Hublot clock tower outside the East Stand at Old Trafford is a popular meeting point for supporters on matchdays.For further information on this lot please visit Bonhams.com
Cartier. A lot of two stainless steel desk clocksThe first with burgundy bobbled lacquer set within a rectangular polished surround, black dial with white Roman numerals and inner minute track, polished pointed baton hands with luminous inserts, quartz movement with 'jewelled' button set within a rectangular case, No.180337GD, 279; The second a polished round, silvered dial with black Roman numeral hour markers and inner minute track, secret signature at 10, blued steel sword hands with luminous inserts, centre seconds, quartz movement with 'jewelled' button set within a circular casing on folding easel support, No.5000302GD 2751 Date: Circa 2010Signed: Both case, dial & movement Size: 90mm and 50mm respectively Accompaniments: Two Cartier pouchesFor further information on this lot please visit Bonhams.com
Patek Philippe. An 18K rose gold manual wind wristwatchReference: 96Date: Manufactured 1942, Purchased 6th January 1942Movement: Jewelled manual wind, No.922829Dial: Brushed pink, applied gilt baton hour markers with Roman numeral quarters, subsidiary seconds at 6, polished pointed baton handsCase: Polished round, snap on back, No.298016Strap/Bracelet: Black Patek Philippe alligator leatherBuckle/Clasp: Signed 18K gold buckleSigned: Case, dial & movement Size: 30mm Accompaniments: Extract from the ArchivesFootnotes:Patek Philippe produced the reference 96 for four decades from 1932 to 1973. It was not only the first of the well loved Calatrava line of dress watches, but was also the first model to be marked by a numbered reference by Patek. The model was later replaced by the reference 3796.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Longines. A stainless steel manual wind flyback chronograph wristwatchReference: 3504Date: Invoiced to Wirth, Switzerland, on January 17th 1946Movement: Jewelled Cal.13ZN manual wind, No.6929194Dial: Silvered, black Arabic numerals, black outer 1/5th second track, subsidiary dials at 3 and 9 for seconds and 30 minute recording, blued steel leaf hands, centre chronograph handCase: Brushed and polished round, snap on back, crown flanked by twin buttons, No.23019Strap/Bracelet: Black leather Buckle/Clasp: Associated steel buckleSigned: Case, dial & movement Size: 34mm Accompaniments: Longines box, Extract from the ArchivesFootnotes:From the 1930s to the 1960s, Longines made many chronographs and developed a reputation for aesthetic and technical quality. But it was in 1936 that Longines applied for the patent of the world's first flyback chronograph: the calibre 13ZN. Born out of the need to make chronograph-resetting easier for pilots, the flyback allowed wearers to press one button and revert the dial to zero in an instant.For further information on this lot please visit Bonhams.com
Omega. An 18K rose gold bumper automatic wristwatchModel: CentenaryReference: 2499Date: Purchased 15th December 1949Movement: Rose gilt 17-jewel Cal.2810 bumper automatic, No.10803196Dial: Salmon pink, applied faceted square hour markers with Arabic numeral 12 and dart 3 and 9, black outer minute track with 5 minute markers, subsidiary seconds at 6, gilt faceted lance handsCase: Polished round, snap on back, No.10808676Strap/Bracelet: Brown Hirsch leatherBuckle/Clasp: Signed gilt buckleSigned: Case, dial & movement Size: 33mm Accompaniments: Sterling silver Omega box, outer card (AF), used Omega strap, original receipt from R.C. Bose of Calcutta, repair receipt dated 24/8/87, Centenary Rating CertificateFootnotes:René Bannwart who lead the Creative Department at Omega was tasked with producing a watch to commemorate Omega's 100th anniversary. Thus the Omega Centenary was born, it was Omega's first automatic chronometer wristwatch.For further information on this lot please visit Bonhams.com
A Michael Sutty limited edition porcelain figure "The Blues and Royals, 1980's", with certificate, height 32 cm. No original wooden base present. The strap by the leg first needs reattaching. The scabbard is missing one strap with which to attach it; otherwise all in good condition with no obvious signs of damage, repair or restoration.
FOOTBALL, FA selection, mainly pre-match gifts, inc. ceramic plates, Wembley Stadium 65 Years, The FA County Youth Challenge Cup 50 Years, Lafarge Foot Avenir Limoges 2011, metal (1) from the French Football Federation; UEFA U-17 2004/5 Elite Round Tournament commemorative plaque, donated FA Youth Trust first aid bag, international pennants, international keyrings, tickets, Portuguese scarf etc., from the John Waterall collection (FA Youth Team official), VG to EX, Qty.
CRICKET, newspapers, inc. The Standard, 28th May 1878, M.C.C. v Australia, played at Lords; The Times (11), 16-18th June & 24-25th June 1896 and 16th-18th May & 13th-15th June 1899, complete issues, includes last day of Ashes for 1st Test 1896 & first day of Ashes for 2nd Test 1899, G to VG, 12
CRICKET, press photos, Australia to England 1964, three excellent posed images from the Australian teams first official practice session of the tour at Lords 20th April 1964, Bill Lawry and Ian Redpath both in batting pose, ad Tom Veivers in bowing pose, also Richie Benaud directing Bob Cowper (batting) while making a cricket film at The Albert Cricket Ground, Melbourne, Australia, 1st Feb 1965, press stamp to backs (4), 10 x 8 (3), 8 x 6 (1) EX, 4
CRICKET, press photos, x3 depicting former Australian wicketkeeper Bert Oldfield: 11.5 x 8.5 Oldfield and Ian Craig at Knox College instructing the first XI, Feb 1957, 10 x 8 of Oldfield walking round the outfield in heavy discussion, January 1972 and 8.5 x 6.5 of Bert Oldfield coaching in 1962, also 6 x 4 of Ben Barnett batting for the Lord's Taverners in 1962, slight edge fraying to two images, G to VG, 4
FOOTBALL, programmes, inc. first and last league games (4), Wigan 1978 & Hereford 1972; Oxford v Cambridge (18), 1960-1985, Nine played away from Wembley at Norwich, Dudley; EC matches 1969/70 onwards inc. Arsenal (22), v Rouen, Glentoran 1969/70, PSG 1993/4; Manchester City (6) Barcelona 2015, Sporting Lokern 2003, Liverpool (5), Rail Madrid 1964, Bronby 1993, Barcelona 2001 etc., VG to EX, 55*
FOOTBALL, selection, inc. original Cardiff City large press photos, all by Jennifer Delany, v Manchester City, 1966/7 FAC (6); other match action from the same season, 12 x 9, annotation to reverse; Cardiff City photos, mainly re-strikes from 1910s-1930s, 1910 (first professional players), Welsh Cup; Western League signed hardback edition of Dunkirk Sportsmen, signed to flyleaf by the author Alec Adrian, 1947, highlighting his sporting and military accomplishments, (Torquay United 1931/2), dj, (some tears), G to VG, 38*
BOXING, selection, inc. programmes, Lewis v Holyfield 1999, Harrison v McCulloch 2003 (6); signed hardback edition, 25 Years St Andrews Sporting Club by John Quinn, signed to first page by Tommy Gilmour; photographs, pennant for Pisces Amateur Boxing Club; promotional cards and Accreditation buttons for Lewis v Mavrovic, Akinwande & Foreman v Morrison etc., duplication, G to EX, 23
CRICKET, press photographs, England v Australia 1938: Don Bradman leading out the Australian team for the first test match at Trent Bridge, Nottingham, June 1938, Arthur Chipperfield batting in the nets, Leslie Fleetwood-Smith bowling in the nets, Ben Barnett's wicket-keeping gloves, Bill Brown walking out to bat plus one other, press stamps (3)10 x 4, 8 x 6 and smaller, VG, 6
A Victorian needlework sampler, Alice Shearman, 1843, "Time By Moments Steal Away, First the Hour and Then The Day, Small the Daily Loss Appears, Yet it Soon Amounts to Years", field decorated with floral wreaths, sprays, butterflies, insects and peacocks, meandering strawberry pattern border, stained and faded in original Birdseye maple frame, 55x44cm.
Adrian Keith Graham Hill,Four figures,signed and dated '50, pencil drawing,28x23cm;three other pencil drawings, by the same hand, Momentus Decision, 30x23cm; Folly, 30x22cm; Night Before the 'Op', 25x19cm; pen and ink drawing, Restless Day, 25x34cm; two unframed pencil drawings by the same hand, first one titled 'Probably Influenced by Weather Forecast' and 'A Little Dreamlike', sheet size of each 25x36cm; together with Adrian Hill, A Beginner's Book of Watercolour Painting, 1959.
14 EFE Buses. 2x GM Standard Atlantean, East Kent. Bristol RELL, West Yorkshire. Leyland National Mk II Long, Go Northern. Alexander Y type Bristol RE, North Western. Bristol VR III, First Eastern National. Bristol VR III, West Yorkshire. SLF Dart, Arriva London. Bristol VR III, Northumbria. RML Routemaster, Thomas Tilling. Bristol VRT, Solent Blueline. GM Standard Fleetline, Grey Green. BET 6-bay, Ribble. AEC Renown, Red Rover. All boxed, minor wear. Contents Mint. £60-80
Corgi Toys Chipperfield's Land-Rover With Elephant And Cage On Trailer, Gift Set No.19. Vehicle and trailer in red/light blue livery, yellow interior to Land Rover, with first type tin tilt . Complete with elephant cage and elephant. Boxed, with display insert. Minor wear/creasing to outer box. Contents VGC-Mint. £120-160
3 First Gear and 2 SpecCast (Liberty Classics) 1:34 1940's-50's American Trucks. A 1957 International R-190 Fuel Tanker, 'SOHIO'. 1949 International KB-8, Texaco/Kisch Oil Company. Plus a 1959 International RF-200 Tandem Axle Tractor with Lowboy Trailer, SHELL. All boxed, with packing, minor storage wear. Vehicles VGC- Mint, a few small parts maybe loose. (5) £40-60
Quantity of various makes. Including a Corgi Toys Carrimore Car Transporter, boxed, some wear/damage. 2x EFE two Southdown Bus sets. OOC Wright Eclipse Fusion, First Hampshire. A DINKY metal sign. Britains 155mm Gun, in a worn box, may not be complete. Plus many die-cast trucks, vans, cars etc by Spot-On, Corgi, EFE, Gescha, Base Toys magazine issues etc. Together with a few model railway items including Hornby 'Evening Star' RN 92220, 2x Hornby-Dublo passenger coaches, 6x 'O' gauge wagons, Hornby 0-4-0 saddle tank, 2x Lima '0' gauge locomotives - one steam and one diesel, plus 2 Lima passenger coaches. A few items boxed, minor/some wear. QGC-Mint. (c80) £80-100
WALTER RICHARD SICKERT (BRITISH 1860-1942)SPECTATORS AT THE OLD BEDFORD MUSIC HALLCrayon and chalkIndistinctly inscribed (lower right)44.5 x 34.5cm (17½ x 13½ in.)Provenance:Gifted by the artist to Dame Edith Sitwell DBE (1887-1964), at 2 Carlyle Square, LondonThence by descent at Weston Hall.Literature:Osbert Sitwell, 'A Short Character of Sickert', introduction to 'A Free House! The Writings of Walter Richard Sickert', ref. p. xiii-xiv, ill. facing p. xviWendy Baron, Sickert: Paintings and Drawings, New Haven & London, 2006, p.180, cat. no. 49.2 Catalogue Note: Osbert Sitwell refers directly to this picture in his memoires : "I was still at Eton and had just arrived at Renishaw for the summer holidays and my sister - then my only link with the living arts - returned, about the same time from her first grown-up visit to London, bringing with her a drawing, upon tawny-coloured paper, of the heads, crowned with the large hats of the period, of four or five women sitting in the back seats of a music-hall. It is, indeed, a memorable drawing in its simplicity, in the way the faces are placed on the paper, and in the brooding intensity and expectation that characterise their look. Greatly impressed, I asked who was the author of this work so new to me, and where she had acquired it, and she answered with great pride that it had been given to her by a great artist called Sickert." Osbert Sitwell, op. cit. p. xiii.We are grateful to Dr. Wendy Baron for her kind assistance in cataloguing this work.Condition Report: Under glass and unexamined out of frame. Executed on buff coloured wove paper. A small area of surface skinning to the centre of the left edge. A couple of bleached spots to the lower left quadrant and a couple of artist's pinholes to both upper left and right corners. A tear running off the lower edge at the lower left corner, approx. 5cms. A small wrinkle to the centre of the right hand edge. Two small holes to the lower right quadrant. Condition Report Disclaimer
Ɵ SITWELL, Edith. (1887 - 1964). Five Works: English Women. Author's Presentation copy to Sacheverell Sitwell, 1942, and four others, 1940-1950. comprises: English Women. Author's Presentation copy to Sacheverell Sitwell. Britain in Pictures series, William Collins, London, 1942. first edition, 8vo., (230 x 165mm), pale blue paper boards, lettered in white to front and spine, matching dustwrapper, unclipped, inscribed by the author to her youngest brother, in black ink on front free e/p., 'For my darling Sachie / with very best love from / Edith', half-title, 47pp; The Song of the Cold. London, Macmillan & Co. Ltd., 1945. first edition, 8vo., (222 x 145mm), navy-blue cloth, gilt lettered to spine, dustwrapper unclipped, half-title, 116pp; Green Song and Other Poems, London: Macmillan & Co. Ltd., 1944. first edition, 8vo., (222 x 145mm), green cloth, gilt lettered to spine, dustwrapper unclipped, half-title, dedicated to Bryher, 35pp; Poems Old & New, Faber &Faber, London, 1940. first edition, 8vo., (192 x 130mm), publisher's brown paper boards, lettered in black to front and spine, dustwrapper unclipped, still showing price 2/6 net, half-title, 80pp; A Book of the Winter. London: Macmillan & Co. Ltd., 1950. first edition, 8vo., (197 x 135mm), publisher's maroon cloth, gilt lettered to spine, dustwrapper unclipped, half-title, dedication to Alice Bouverie, 86pp.Provenance: The Sitwell Family Library, Weston Hall.
Ɵ FACADE: AN ENTERTAINMENT. THE POEMS BY EDITH SITWELL; THE MUSIC BY WILLIAM WALTON. Oxford University Press, 1972. single volume, first edition, Limited edition, No. 40, of one thousand numbered copies, the first two hundred and fifty specially bound and signed by the composer, William Walton, 4to., (315 x 204mm), publisher's quarter buckram illustrated boards, lettered in gilt and red to spine, within original clear plastic dustwrapper, illustrated half-title, 2pp. A Note by Edith Sitwell, originally written to accompany the recording of Facade issued by Decca Records in 1954, 3pp. Facade by Sacheverell Sitwell, April, 1971, 3pp. facsimile reproduction, slightly reduced, of the composer's manuscript showing the setting of 'Herodiade's Flea', 1pp. The Ballet Facade by Frederick Ashton, June, 1971, pp. 7 - 111, facsimile reproductions of the composer's manuscripts, with Facade An Entertainment, the original recording of 1929, pressed disc, 45 R.P.M., Extended Play, Decca Records, Oxford University Press, 1972, white paper inner sleeve, within black glossy card record sleeve, lettered in white, OUP. 110, side one (EFF2998), side two (EFF 2999), the poems spoken by Constant Lambert and Edith Sitwell, Conducted by William Walton; housed within original presentation clam shell box, navy-blue cloth, lettered in gilt to front, (327 x 255mm). NPG. tissue wrapping with printed label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. C21 / 3.59.Provenance: The Sitwell Family Library, Weston Hall.
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