GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower right corner.Measurements: 69 x 88 cm; 73 x 93 cm (frame).The landscape was one of the genres in which Gonzalo Bilbao cultivated the most, in such a way that his work reflects a wide variety that goes from maritime, fluvial and terrestrial views, adapting pictorially diverse locations that go from the Andalusian countryside to the city of Morocco. Sometimes they are populated by people, while at other times they are desolate, as in this painting. His mastery and intense activity as a landscape painter involved a great mastery of technique, and he was a master of capturing light and atmosphere. This work is a clear example of this, as the artist captures a specific moment of the day.Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
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A group of four Italian second half 18th century 'lacca' and parcel gilt mirrorsVenetian, each one a different modelEach decorated with assorted flowers and scrolled foliage, one mirror painted with a bird and another depicting a rustic couple reclining together with a dog in a rural landscape, within similarly shaped pierced foliate C- and S-scroll, acanthus and rocaille carved surrounds, one surmounted by a classical profile medallion, one mirror with a 'Galleria Orsi' label to the reverse, one mirror approximately: 74cm high x 45cm wide. (4)Footnotes:ProvenanceGalleria Orsi.Purchased in the late 20th century by the current owner and vendor from the dealer Cesaro, in Padua.A Venetian 18th century 'lacca' mirror, which is similar to two of the mirrors comprising the offered lot, sold Christie's, London, 29 April-20 May 2021, The Collector: Onine, lot 85.The fashion for exotic lacquers from China and Japan reached the Occident through the centuries, and came to its apogee in Venice in the 18th Century. Venetian 'laccatori' were among the first to imitate lacquer, and their furniture and objects were much sought after as a result. Chinoiserie motifs closely imitated Oriental patterns at first, but during the second half of the 18th Century, Venetian lacquerers created different designs, loosely combining chinoiserie motifs with figures, animals, birds and landscapes. Other imitations of oriental lacquer were created in Venice, as the technique known as 'lacca povera' with printed glued vignettes. Interestingly, after the painted decoration was finished, the 'laccatori' used up to eighteen layers of a specific varnish called 'sandracca' which was applied to protect the decoration. With time, this precious varnish turned yellowish, therefore changing our perception of the initial ground colour, which most of the time was originally light blue or turquoise. Ageing 'sandracca' crackled, giving its surface a delicate fine craquelure only visible under close examination, which is a sign of an untouched decorative scheme.Related LiteratureG. Morazzoni, Il Mbile Laccato del Settecento, Vol II, 1958, Milan, tav. CDLXXX a sin.G. Mariacher, Specchiere Italiane e Cornici da Specchio, dal XV al XIX Secolo, 1963, tav. II.C. Santini, Le Lacche dei Venziani, 2003, Modena, p. 103, fig. 32.S. Levy, Lacche Veneziane Settecentesche, Vol. II, tavv. 318-319.Galleria Silva, Catalogo, No. 4, Settembre 2005, pp.'s 46-47.Galleria Silva,This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Attributed to Claude Galle (French, 1759-1815): A pair of early 19th century bronze and marble figural twin light candelabracirca 1815formed as Grecian maidens clad in formalised classical robes holding candle arms formed as cornucopiae with bird cast nozzles, raised on rouge marble square bases, 28.5cm high overallFootnotes:The son of a farmer, Claude Galle rose beyond his humble roots to become an important bronze caster and gilder by the end of the 18th century. Although very rarely marking his works and producing in a variety of styles popular at the end of the 18th and start of the 19th century, he collaborated with numerous other craftsmen, and scholars.By 1784 Galle had become extremely successful, producing mounts for furniture, clocks, and other objects in gilt bronze for the palaces of Fontainebleau, Versailles, Saint-Cloud, and Compiègne in his workshop and he was made a master bronzier in 1786.After the French Revolution, Galle continued to produce numerous pieces for Napoleon Bonaparte, receiving an order worth more than 65,000 francs for the Château of Saint-Cloud. As many of his clients were slow to pay their bills, however, he fell increasingly into debt. In 1811 he was even forced to write a begging letter to the government asking for its help and protection reminding them of the awards he had won, the large family he had to feed, and the four hundred employees who depended on him for their jobs. However, he died in poverty four years later, having been forced to close his shop.For further information on this lot please visit Bonhams.com
Unbekannter Genremaler, 17. Jh.Einladung zur Bootspartie. Öl auf Leinwand, doubliert. Unsigniert. Rückseitig von fremder Hand bezeichnet "D.Cook". In Schmuckrahmen. 56 x 50 cm (Ra). Restaurierter Zustand: Leinwand doubliert, kleine Retuschen unter Firnis. Narrative Genreszene am See im Abendlicht. Der Einladung zur Bootspartie folgt die junge Dame nur sehr zögerlich; der Sprung vom festen Felsengrund in den wackeligen Kahn an der Hand des hoffnungsvoll schauenden jungen Herrn scheint ihr nicht geheuer. Sinnreiche Allegorie auf die junge Liebe und das Wagnis der Ehe. Unknown genre painter, 17th century. Invitation to a boat trip. Oil on canvas, relined. Unsigned. Backside with remark "D.Cook" by unknown. Ornamental frame. Restored condition: small retouches under varnish. Narrative genre scene on the lake in evening light. The young Lady is stumbeling into the open arms of the Gentleman. The passing from the solid rocks onto the shaky boat is a nice allegory on first love and the ventures of marriage.
Unbekannter Künstler, 20. Jh.Goldener Herbst. Öl auf Leinwand, 1930. Unten links unlesbar signiert und datiert. Gerahmt. 96 x 76 cm (Ra). Stimmungsbild mit Lichtspiel durch goldgelbes Herbstlaub in urbanem Umfeld. Golden Autumn. Oil on canvas, 1930. Hard to read signed and dated bottom left. Framed. Impression of flickering light through golden coloured leaves in an urban place.
Unbekannter KünstlerMeeresbrandung an felsiger Küste im Abendlicht. Öl auf Leinwand, 1921. Unten rechts schwer lesbar signiert (Hans ...?) und datiert. Gerahmt. 50 x 56 cm (Ra). Etwas angeschmutzt. Warme und sinnliche Abendlichtstimmung an mediterraner Steilküste mit illusionistischer Wassermalerei. Sunset mood at a rocky coastline. Oil on canvas, 1921. Hard to read signed and dated bottom right. Framed. A bit dirty and tanned. Very warm evening light and illusionist painting of the surging sea.
Hilverdink, Johannes (1813 Groningen - 1902 Amsterdam)Spätsommerliche Flusslandschaft mit kleiner Insel und Fischerbooten. Öl auf Leinwand, doubliert, 1842. Unten mittig signiert und datiert. In aufwendigem Schmuckrahmen. 66 x 73 cm (Ra). Guter Zustand, neuer Firnis. Delikate Landschaftsszene mit fein abgestimmtem Licht- und Wolkenspiel. Riverscape with small island and fishing boats in late summertime. Oil on canvas, 1842. Sigend and dated bottom middle. Ornamental frame. Canvas relined, varnish renewed. Good condition. Delicate painting with elegant light and clouds.
A mixed lot of items to include a copper flour dredger, three small jelly moulds, porcelain whistle in the form of a baby in a shoe, a Victorian green double-ended scent bottle, and a smaller example in amber, a Victorian ceramic light pull, tin vesta case in the form of a letter box, and other items Location: SL
An H. & R. Daniel porcelain tea service: in the shell shape and comprising a teapot and cover, sucrier and cover, milk jug, waste bowl, nine breakfast cups, six tea cups, ten saucers and two plates, each painted in pattern no. 5199 with flower sprays within gilt embellished wine borders, circa 1835, [tea pot cracked, some light stain].
A pair of 19th century French gilt metal three-light wall appliques: with flared urn-shaped nozzles and pierced drip trays mounted on foliate branches issuing from a pieced scroll and foliate backplate 36cm; together with a gilt bronze twin-branch wall applique with garland and ram's head decoration, 45cm high.
![[Quaker] The Works of the Long-Mournful and Sorely-Distressed Isaac Penington, whom The Lord in his tender Mercy, at length V](https://cdn.globalauctionplatform.com/83d1a739-8946-4acf-ab0e-aec300d84812/6fea8bb2-9e59-4921-8df6-aeca0101b436/468x382.jpg)
[Quaker] The Works of the Long-Mournful and Sorely-Distressed Isaac Penington, whom The Lord in his tender Mercy, at length Visited and Relieved by the Ministry of that despised People called Quakers; and in the Springings of that Light, Life and Holy Power in him which they had truly and faithfully testified of, and directed his mind to, were these things written...printed by Samuel Clark for John and Thomas Kendall 1761 the second edition, two volumes bound in full leather with raised bands and remains of title labels [hinges delicate and one board detached]
Roman Imperial Coinage, Hadrian, Denarius, 119-23, laureate bust right, ægis on far shoulder, rev. Concord seated left on high-backed throne, holding patera, concord in exergue, 3.26g (RIC 549 var; RSC 255; cf. RCV 3465). Light scratch on neck, good fine or better, the variety rare £80-£100 --- Provenance: Bt C.J. Martin February 1999
Roman Imperial Coinage, Allectus, Antoninianus, ‘C’ mint, 293-5, radiate, draped and cuirassed bust right, rev. pax avg, Pax standing left, holding olive branch and vertical sceptre, s p in field, c in exergue, 3.65g (RIC 86; RCV 13822; S 689). Light earthen deposits, otherwise better than very fine £90-£120
Edward III (1327-1377), Treaty period, Half-Noble, Calais, class B2, mm. cross potent on rev., ed/ward dei g rex angl d hyb z aq/t, flag at stern of ship, c in centre of rev., domine ne in fvrore tvo argvas me, 3.75g/4h (LAL 4; SCBI Schneider 98; N 1241; S 1508). A few light marks consistent with being a field find, otherwise very fine, rare £2,600-£3,000
Edward IV (First reign, 1461-1470), Light coinage, Penny, York, mm. large lis, g and key by neck, 0.81g/12h (B & W VII; Stewartby 3b; N 1595; S 2063). Trace of reverse cross through face, otherwise very fine, full flan, toned £100-£120 --- Provenance: Magnus Collection, Spink Auction 212, 28-29 March 2012, lot 859
CATUVELLAUNI, Early Uninscribed series, silver Unit, Puckeridge Bird Hair type, animal with long ears and curled tail bounding right, various ornaments around, rev. horse left, moon above, star below, 0.50g/7h (ABC 2499; BMC 393-6; S 52). Very light porosity, otherwise better than very fine, very rare £200-£260
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