Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child.
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Signed and located 'Ridgway Knight/Paris' bottom left, oil on canvas35 1/2 x 46 1/4 in. (90.2 x 117.5cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceCollection of William C. Sproul. His sale, Parke-Bernet Galleries, New York, sale of January 26, 1949, Lot 65.Parke-Bernet Galleries, New York, sale of April 2, 1975, Lot 161.(Presumably) acquired directly from the above sale. Private Collection, North Carolina.NoteHailing from Chambersburg, Pennsylvania, Daniel Ridgway Knight made his name through his paintings of idyllic country life. Spending the majority of his life in France he established his house and studio at Poissy along the Seine. Knight studied at the École des Beaux-Arts, Paris under Marc Gabriel Charles Gleyre and later worked in the private studio of Ernest Meissonier (see Lot 57).Depicting three women in an overgrown garden next to a river, this work is a fine example of maybe his most popular subject: peasant women. The middle figure is waving a white kerchief signaling to an unseen character. The beautiful young peasant women seem to exist in perfect harmony with the scenery around them. The lush garden in tandem with the muted light creates the feeling of a serene country evening and a simple way of living. Knight’s work reflected the French demand for paintings of pastoral charm, which was also favored by puritan collectors in the United States. His accolades include a silver medal and Cross of the Legion of Honor from the Exposition Universelle, Paris in 1889, and a gold medal of honor from the Pennsylvania Academy of the Fine Art, Philadelphia in 1893. Knight died in Paris, his son Louis Aston Knight would go on to become a well-known painter in his own right.The apparently unlined canvas in overall very good condition. The evident excess of varnish has yellowed in some parts, thus commanding a clean, which would benefit the overall apperance of the work. Scattered droplets in the sky at center and upper center (surface soiling), along with brown dots at upper left and upper right corners, which should be easily removed. Surface cracks (age related) present throughout the composition, mostly visible in the sky. Examination under UV light does not reveal any major sign of inpainting apart from a 1 in. diagonal repaired scratch at bottom left corner. Otherwise we see a heavy layer of old greenish varnish throughout. To see Specialist's images, please email Raphael Chatroux at rchatroux@freemansauction.com.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Musician" and "Sketch of a street scene".Mixed media on paper (recto). Pencil on paper (reverse).Signed in the lower corner.Measurements: 37.5 x 26.5 cm; 58 x 49 cm (frame).Painter, draughtsman and cartoonist. In his youth he participated in the Barcelona modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937)."Garden in September", 1988.Oil on canvas.Signed in the lower right corner.Presents a label from the Biosca Gallery in Madrid and the Sala Parés in Barcelona.Measurements: 73 x 92 cm.Son of Emilio Grau Sala and Ángeles Santos Torroella, he trained in Barcelona. In 1949 he makes several trips to Paris, where he has the opportunity to contemplate at first hand works by Sisley, Van Gogh and various impressionists and post-impressionists. He held his first solo exhibition at the Sala Libros in Saragossa in 1957. Since then he has held solo exhibitions at the Syra, Rovira and Vayreda galleries in Barcelona; Alas, Abril, El Cisne, Collage and Biosca in Madrid; Justin Lester in Los Angeles, Art Roman in Tokyo, etc. Since 1966 he has exhibited regularly as a solo artist at the Sala Parés in Barcelona, and in 1968 he took part in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on colour, is characterised by a very elaborate technique and a profound knowledge of drawing. He also produced numerous drawings, which were published in various newspapers and magazines. His awards include the La Rambla Prize (Barcelona, 1961), the Ramón Rogent Medal (Salón de Mayo, Barcelona, 1962), the medal of the Fine Arts Exhibition (Madrid, 1961), the 3rd Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), the City of Barcelona Medal (1965), the Huesca Painting Biennial Prize (1976), the Countess of Barcelona Medal (Madrid, 1983) and the Medal of Honour in the BMW Competition (Madrid, 1987). In recent years he has participated in the ARCO fairs in Madrid and ARTEXPO in Valencia, Barcelona, Basel, New York, Chicago, Miami and Hong Kong. In 1993 the Mapfre Vida Foundation in Madrid dedicated a retrospective exhibition to him.
ANTONIO DE LAS PEÑAS Y LEÓN (Granada, 1815 - Seville, 1886)"Bullfighter" and "Lady with mantle".Pair of terracotta sculptures.Signed, one of them also dated 1874.Measurements: 22 and 23 cm highExtensively documented by Joaquín Manuel Álvarez Cruz, Antonio de las Peñas was the most important clay sculptor of the Sevillian school of the 19th century. He began his career in Madrid, from where he moved to the Canary Islands, finally settling in Seville around 1870. He trained in imagery and clay sculpture, the latter technique being particularly favoured by the Romantic context. In fact, De las Peñas specialised precisely in terracotta sculptures of costumbrista genre, popular types with clear Romantic roots. His pieces, small in size and not very expensive, were mainly acquired by travellers visiting ANdalucía. This type of sculpture, together with various vases in the Arab style, were the pieces with which De las Peñas became known at the Fine Arts Exhibitions of the Economic Society of Friends of the Country, where he won a gold medal in 1835. This prize enabled him to make a name for himself in Madrid, and important commissions followed one after another from then onwards, consolidating his reputation at a national level. He also taught at the Academy of Fine Arts in Las Palmas de Gran Canaria before settling in Seville. In 1871 he won the first medal at an official exhibition held in the Andalusian capital, placing him at the forefront of the Sevillian sculptors of the time. In the last years of his life he had a large workshop where young sculptors were trained.
JOAQUÍN VAQUERO TURCIOS (Madrid, 1933 - Santander, 2010)."Storm over the ruins".Oil on canvas (with board on the back, unattached).Signed in the lower left corner.Presents label of the Biosca gallery in Madrid.Measurements: 50 x 61 cm; 71 x 83 cm (frame).The plastic universe of Vaquero Turcios is easily recognisable, since he developed a unique palette of glaucous and earthy lights as in the metaphysical landscape shown here.Joaquín Vaquero Turcios spent his childhood in Oviedo, initiated by his father, the architect and painter Joaquín Vaquero Palacios. He began working as a draughtsman, and in 1950 he had his first exhibition in Madrid. He lived in Rome for seventeen years, studying architecture there. Together with his father, he participated in the decoration of the Grandas de Salime dam and power station in Asturias. In 1953 he held his first solo exhibition in Lugano. In his work he is noted for his ability to alternate painting with murals, engraving and sculpture, always incorporating what he had seen and learnt on his travels, in his training and in his reading. Among the prizes and awards he received, it is possible to highlight the Gold Medal at the Salzburg Biennial in 1957, the First Prize for Painting at the III Biennial in Paris in 1963, his appointment as a Full Member of the Royal Academy of Fine Arts of San Fernando in Madrid in 1998, etc. His work is kept in numerous private collections, as well as in institutions such as the Museum of Architecture of the Royal Monastery of El Escorial (Madrid), the Royal Theatre in Madrid, the University of Cordoba, the Plaza de Colon in Madrid, the Reina Sofia National Museum and Art Centre, the Centre Pompidou in Paris, the Cleveland Museum of Art, the Museum of Fine Arts in Bilbao, the Vatican Museum in Rome, etc.
RAFAEL DURANCAMPS I FOLGUERA (Sabadell, 1891 - Barcelona, 1979)."Capea in the village. Thunder at the fair".Oil on canvas.Signed in the lower right corner.Measurements: 37,5 x 84,5 cm; 59 x 105,5 cm (frame).Rafael Duran i Camps, better known as Durancamps, was a disciple of Vila Cinca in the Industrial School of Arts and Crafts of Sabadell. He later met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps' first period. He exhibited for the first time in 1917 at the Galerías Layetanas in Barcelona, and his success encouraged him to continue painting despite his family's opposition. He spent several periods in Madrid, where he studied the masters of the Prado Museum, and then travelled to Italy. He returned to Barcelona and took part in various competitions, winning important prizes such as the Masriera medal in 1920, as well as holding several exhibitions at the Sala Parés. In 1921 he travelled to Paris for the first time. His work at this time is close to Impressionism, but also shows the influences of Zurbarán, El Greco and Venetian colourism, combining the precision of the drawing with the gravity of the colour. In 1926 he returned to France and settled in Passy, where he lived until 1939. During these years he met Picasso, who encouraged him to hold exhibitions at the Zak gallery, where he enjoyed considerable success, which increased with his successive exhibitions. He returned to Spain and settled in San Sebastián, but continued to work closely with the Sala Parés, where he continued to hold exhibitions until his death. He also held various exhibitions in Madrid, Sabadell, Bilbao, Valencia, London and Philadelphia. Although his first period was influenced by Mir, Durancamps soon evolved towards a more personal conception, giving special prominence to the constructive line and a peculiar colouring of sober beauty. His still lifes, which he treated with a profusion of line and transparency, are a prodigy of serenity and elegance, with such a personal stamp that they escape any contemporary classification. His landscapes and genre scenes, especially the "capeas" in various Spanish villages, are highly emotive. The "skies of foreboding" that express the drama of the fiesta evoke his acute lyrical sense. He is represented in the Museums of Contemporary Art in Barcelona, Madrid, San Sebastián and Buenos Aires, as well as in a large number of Spanish and foreign collections.
JOSÉ BEULAS RECASENS (Santa Coloma de Farnés, Girona, 1921-2017)."Desertification".Oil on canvas.Signed in the lower right corner.Attached label of the Van Dyck and Biosca art galleries.Measurements: 60 x 82 cm; 77 x 100 cm (frame).Beulas developed a landscape painting in which he favoured views of wastelands and arid terrain, such as the one we are dealing with here. Using a low point of view, the painter focuses on the irregular terrain, suggesting orographic waves modelled by the wind. Nature, rather than being described, is reflected through colour, atmosphere and texture.An exceptional landscape painter, Beulas trained at the Escuela Superior de Bellas Artes in Madrid, where he was awarded a scholarship by the City Council and the Diputación de Huesca. In 1951 the San Fernando School awarded him the El Paular landscape scholarship, and shortly afterwards he was awarded the Marqués de Aledo Prize (1954) and the medal at the Salón de Otoño in Madrid (1955). Around this time he also took part in the Barcelona and Venice Biennials, and then moved to Rome and joined the Spanish Academy in that city. He travelled around Italy painting landscapes, reaching a mature style characterised by sobriety, the linear serenity of his landscapes, elegance and synthesis. Throughout his career, Beulas won numerous awards, including the Alla Riva International Painting Prize (Italy, 1959), the Barcelona Provincial Council Prize (1964) and the First Medal at the National Exhibition of Fine Arts (1967). He exhibited regularly both in Spain and abroad, making himself known in cities such as New York, Milan, Rome and Naples, among others. He is currently represented in the Reina Sofía Art Centre, the Provincial Museums of Zaragoza, Malaga and Girona, the Fine Arts Museum of Valencia, the Drawing Museum of Larrés and many others.
IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916)."Albaes", 1887.Oil on panel.Signed and dated in the upper left corner.It has bands added on the sides. It has craquelure.With original label of the Gallery of Art and Auctions, Valencia.Measurements: 20 x 31 cm; 38 x 48.5 cm (frame).Born into a humble family, Pinazo was obliged from a very young age to contribute to the support of his household with different occupations. He had only completed the eighth year at school when his mother died of cholera, so he was soon employed in various trades, including silversmith, tile decorator, baker, gilder and fan painter. After his father's death he moved in with his grandfather and in 1864 he entered the San Carlos Academy of Fine Arts, where he was a pupil of José Fernández Olmos. During this period he earned his living as a milliner. He began his artistic training at the age of twenty-one, achieving his first success three years later in Barcelona. In 1871 he took part for the first time in the National Exhibition of Fine Arts. He was in Rome twice, the first time thanks to the sale of a painting in 1873, and the second time on a scholarship between 1876 and 1881. It was there that he began his major historical productions, far removed from the conventions of the genre. In his first period he developed an academicist style, but from 1874 he began to paint in a more intimate, impressionistic style. When he returned to Valencia he abandoned historical themes and instead began to paint family subjects, nudes and scenes from everyday life. He is now considered a precursor, in both subject matter and style, of Joaquín Sorolla and Francisco Domingo. In 1884 Pinazo left Valencia temporarily due to a cholera epidemic, moving into the house that the banker José Jaumandreu owned in Bétera. From his return that same year until 1886 he taught at the Valencia School of Fine Arts. During these years he received numerous commissions from the Valencian aristocracy, and his clients included prominent figures such as the Marchioness of Benicarló. Pinazo exhibited his works at the National Exhibitions of Fine Arts in Madrid, winning a silver medal in 1881 and 1885 and a gold medal in 1897 and 1899. In 1896 he was appointed a member of the Academy of San Carlos, and in 1906 he became a member of the Academy of San Fernando in Madrid. In 1900 he was involved in the decoration of the staircase of the palace of Don José Ayora, together with Antonio Fillol, Peris Brell, Ricardo Verde and Luis Beüt. During these years he was awarded a royal medal and in 1912 the city of Valencia dedicated a street to him. After his death in 1916, a series of commemorative events were held to commemorate his life and work. Pinazo is currently represented in the Prado Museum, the MACBA in Barcelona, the Museum and Circle of Fine Arts in Valencia, his House-Museum in Godella and the Valencian Provincial Council, as well as in various important private collections.
JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991)."Flors, gerro fosc".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés, Barcelona.Attached leaflet of the exhibition in which it was included: "Josep Amat: exposició de pintura", Sala Parés, 1981.Published in the newspaper La Vanguardia on 28 February 1981. Attached original sheet.Measurements: 65 x 50 cm; 68 x 53 cm (frame).In this floral still life, Josep Amat displays an attractive chromatic symphony using a luminous palette. The serpentine stems are topped with open corollas that endow the whole with multicoloured delicacy. The vase, placed on a gueridon-type table, is cut out in front of a window through whose panes of glass the spring greenery is prolonged.Josep Amat trained at the Llotja School in Barcelona and was a favourite pupil of Joaquim Mir. In 1922 he took part in a group exhibition for the first time and sold his first landscape. Six years later, in 1928, Amat made his solo debut with an exhibition of twenty-eight works at the Dalmau gallery. From then on he exhibited individually in the most important galleries in Barcelona. In 1933 he took part in the Spring Salon, winning prizes in that edition and also in those of the following two years. That same year he travelled to Paris for the first time, where he became known in 1936 in a group exhibition. In 1940 he exhibited for the first time at the Sala Parés, where he exhibited frequently until 1987. During these years he took part in the Barcelona Spring Salon, winning prizes in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, a diploma in 1942 and the Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Now fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the outbreak of the Civil War he was forced to give up plein air painting and began a period centred on figures and interiors. In addition to his awards in national competitions, he won the José Ramón Ciervo prize at the Second Spanish-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premi Sant Jordi (1955), the Ynglada Guillot drawing prize (1963) and the Gold Medal of the Barcelona International Painting Fund (1981). Between 1942 and 1970 he taught landscape painting at the Barcelona School of Fine Arts. He joined the Sant Jordi Royal Catalan Academy of Fine Arts in 1981, with a speech entitled "History of Landscape". This painter is remembered as the leading exponent of 20th-century Catalan Impressionism, and has been honoured with various exhibitions, including one organised by Barcelona City Council at the Espai Pruna in 2001 to mark the centenary of his birth, as well as the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia.
JEAN-GABRIEL DOMERGUE (France, 1889 - 1962)."Casino de Paris".Oil on masonite.With label on the back.It has a period frame with damage and faults.Signed in the lower left corner and titled on the back.Measurements: 46 x 38 cm; 66 x 57,5 cm (frame).Jean Gabriel achieved great recognition for his paintings of elegant and beautiful women belonging to Parisian high society. This work is a masterful example of one of his most explored themes and of his technical quality, in which colour plays a major role. The pictorial treatment of this work shares the limelight with the lady depicted, the way in which he applies the brushstrokes in the background or how he configures the shade of the satin of the dress show us the level of skill of the work, in which with few elements the artist is capable of capturing the casual and vibrant essence of the most bohemian Paris. A French painter specialising in portraits of Parisian women, Jean-Gabriel Domergue trained at the École Nationale Supérieure des Beaux-Arts. A highly talented and extremely precocious artist, he exhibited his works at the Salon des Artistes Français from 1906, when he was only seventeen. In 1913 he was awarded the Second Prize in Rome, and at the 1920 Salon he was awarded the Gold Medal. From then on he showed his works outside the Salon. In his early years he achieved success thanks to his landscapes, the focus of his work at the time, but his language took a definitive turn in the 1920s. From then on he became the painter of the Parisian lady. Domergue invented a new type of woman: slender, ethereal, elegant, with a swan's neck and slanting, seductive eyes, looking at the world with melancholy. He would later state: "I invented the pin-up". Although Domergue painted numerous nudes modelled on fashionable actresses and young dancers, he was nevertheless highly appreciated in aristocratic circles as a portraitist, and in fact painted portraits of prominent ladies of the time such as Liane de Pougy and Nadine, the future Baroness de Rothschild. An active participant in the Parisian cultural life of the time, he played an essential role in the evolution of fashion at the time, and designed numerous dresses, hats and accessories for famous couturiers such as Paul Poiret and Henry Marque. As for his pictorial work, it was in the 1930s that Domergue's language reached its personal form. At the height of his career, he reached maturity with a painting indebted to the 18th century masters, such as Fragonard and Watteau, in terms of its mastery and delicacy, and helped to establish the canons of feminine beauty of his time. His academic training, together with his aura of fantasy, made his portraits unique and inimitable, much sought after by collectors even then. In fact, Domergue changed the way in which women were portrayed, breaking with traditional, melancholic and vaporous poses. In her hands, the female figure became ethereal, sparkling and shimmering like champagne bubbles, in her own way laying the foundations for the feminine revolution that was to unfold in the decades that followed. Apart from his artistic output, Domergue was director of the Jacquemart-André Museum in Paris, a member of the Académie des Beaux-Arts and a Knight of the French Legion of Honour. He is now mainly represented in the museum that bears his name in Cannes, as well as in the Royal Collection in London and other public and private collections.
JUAN MANUEL DÍAZ CANEJA (Palencia, 1905 - Madrid, 1988)."Still life".Oil on canvas.Signed in the lower right corner and on the back.Measurements: 60 x 73 cm; 69 x 82 cm (frame).Juan Manuel Díaz Caneja was a cubist painter, known and appreciated, above all, for his settings in the Castilian landscape. In 1923 he began studying architecture at university in Madrid, and attended classes in Daniel Vázquez Díaz's studio to prepare for the subject of drawing. He soon discovered his passion and left his studies to devote himself to painting. He took an active part in avant-garde cultural life, especially while living in the Residencia de Estudiantes in the capital. In 1927 he met the members of the Vallecas School Benjamín Palencia and Alberto Sánchez Pérez.He saw and studied Cubism at first hand when he spent the winter of 1929 in Paris. In 1930 he settled in Saragossa, where he shared a studio with Manuel Corrales and González Bernal. A year later, in Madrid, he published with Herrera Perete an anarchist, Dadaist and surrealist magazine called "En España ya todo está preparado para que se enamoren los sacerdotes" ("In Spain everything is ready for priests to fall in love"), and began his long list of exhibitions with his first solo exhibition three years later. After meeting his future partner Isabel Fernández Almansa, he joined the Communist Party of Spain, an affiliation he would maintain throughout his life, and joined the National Confederation of Labour. He served on the Republican side during the Civil War, after which he lived and worked in Madrid. In order to avoid censorship, his main subject was landscape, for which he would become so well known. He was arrested and imprisoned in 1948 for his links with the Republicans, spending three years in prisons (Carabanchel and Ocaña), but never stopped painting. His work was, however, recognised with various awards (National Painting Prize in 1958; First Medal at the National Exhibition of Fine Arts in 1962; Spanish National Plastic Arts Prize in 1980; Castilla y León Prize for the Arts in 1984) and with the creation in Palencia in 1995 of a foundation named after him, which has its headquarters in the city's Museum of Contemporary Art. His work has been exhibited in Madrid, Santander, Bilbao, Paris, Copenhagen, Zaragoza, Pamplona, León, Valladolid, Rome, etc., and is held in important private collections all over the world and in leading institutions (his aforementioned foundation, the Museo Centro de Arte Reina Sofía in Madrid, the Guggenheim Museum in New York, the Museo Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, etc.).
AURELIO ARTETA Y ERRASTI (Bilbao, 1879 - Mexico, 1940)."Personaje".Mixed media on paper.Signed in the lower right corner.Size: 24 x 21 cm; 41 x 39 cm (frame).This drawing is a magnificent example of the important role that Aurelio Arteta played in the Basque pictorial renovation in the first third of the 20th century. With a style that fuses classicism and modernity (the classical base learned in Italy can be appreciated, with the cubist forms influenced by Vázquez Díaz), the drawing in question is a tribute to the rural world and Basque industry.Aurelio Arteta began his studies at the Bilbao School of Arts and Crafts, and later extended them at the San Fernando Royal Academy of Fine Arts. In 1902 he obtained a scholarship that enabled him to travel to Paris, where he completed his training. Later he also visited Italy. He was a founder of the Association of Basque Artists, and carried out important commissions such as the frescoes of the Banco de Bilbao in Madrid. In 1924 he was appointed the first director of the recently created Bilbao Museum of Modern Art, and six years later he was awarded the National Painting Prize. He was also awarded the first medal at the National Exhibition of Fine Arts in 1932. He is currently represented in the Fine Arts Museums of Bilbao and Álava, the San Telmo Museum in San Sebastián and in numerous private collections.
ANGEL LARROQUE ECHEVARRÍA (Bilbao, 1874 - 1961)."Urban View".Oil on panel.Signed in the lower right corner.Size: 51 x 51 cm; 61 x 61 cm (frame).Trained in Bilbao, Paris, Stuttgart, Madrid, Rome and Florence, Larroque held exhibitions in Austria, Germany, Mexico, Paris and London, and in Madrid he took part in the National Exhibitions of Fine Arts in 1912, 1917 and 1920, also making his works known in exhibitions held in Bilbao. In 1921 he won the post of teacher at the Bilbao School of Arts and Crafts and in 1947, at the proposal of the Biscayan provincial council, he was awarded the Cross and Commendation of Alfonso X the Wise. He was also a prize-winner at various exhibitions and competitions throughout his career, winning awards such as the Diploma of Honour at the exhibition held on the occasion of the Centenary of Mexican Independence (1911) and the third-class medal at the National Exhibition of 1917. Ángel Larroque is currently represented in the Bilbao Fine Arts Museum, among other public and private collections.
ANTONIO GUIJARRO GUTIERREZ (Villarrubia de los Ojos, Ciudad Real, 1923 - Madrid,2011)."Woman and trap to catch birds".Oil on canvas.It has a small perforation in the central part of the canvas.It has damage in the frame.Signed on the back and titled on the frame.Measurements: 100 x 81 cm; 123 x 104 cm (frame).Antonio Guijarro began his artistic studies in Valencia, in the School of Fine Arts of San Carlos, in 1942. Two years later he moved to Madrid and continued his training at the San Fernando School. He made his individual debut in 1951, at the Biosca gallery in Madrid, and that same year he took part in the Salón de los Once. Since then he has held personal exhibitions in Spain, Sweden, the USA, Portugal and Norway. His awards include the National Painting Prize (1954), the First Medal at the National Fine Arts Competition in Barcelona (1957), the Juan March Foundation Scholarship (1958) and the Bronze Medal at the Alexandria Biennial (1968), among others. He is represented in leading collections all over the world, such as the Reina Sofía Museum in Madrid, the Modern Art Museums in Cairo, Lisbon and Venice, the Collector Gallery in Miami, the Irosuke Batanuki in Kobe (Japan) and the International Graphic Society in New York.
MARIANO YZQUIERDO VIVAS(Puerto Príncipe, Cuba, 1893- Madrid, 1985)."Fishermen".Oil on canvas.Signed in the lower left corner.Measurements: 70 x 63 cm.; 87 x 69 cm.(frame).Yzquierdo trained at the San Jorge School of Fine Arts in Barcelona and at the San Fernando School of Fine Arts in Madrid. In 1922 he became director of the School of Applied Arts and Artistic Crafts in La Coruña, where he was a member of the Royal Provincial Academy of Fine Arts Nuestra Señora del Rosario. In 1940 he won the post of professor of artistic drawing in Madrid and became director of sections X and XII of the School of Arts and Crafts in that city. He specialised in constumbrist and historical themes and examples of his work are kept in institutions such as the Army Museum and the Military Academy of Saragossa. He took part in the National Fine Arts Exhibitions, where he won several awards, such as third medals in the 1922 and 1945 editions and a second medal in 1950. He also won the first medal at the Salón de Otoño in 1949, the same year he received the Prize of the Ministry of National Education.
WWI/WWII - Group of 5 medals awarded to Lieutenant Percy Heaps Bunting, Loyal North Lancs Regiment, comprising 14/15 Star trio, GSM 1 clasp Iraq and GVI Defence medal, with associated badges, buttons, photographs, other paperwork and a suitcase initialled P.H.B with further associated items Around 30 Middle Eastern photos including views of Baghdad, Babylon ruins, portraits of local people
Northumberland Fusiliers 5th Regt of Foot, silver 5th period Order of Merit 1805. Obverse St George with Dragon, scroll "Quo Fata Vocant" above; "Revived Apr 23. 1805" in exergue; reverse "Vth Foot Merit Medal March 10th 1767" within laurel. Edge named/engraved "William Knipe", diameter 34mm. Pierced with ring suspender. VF Balmer states these medals were silver for 21 years service. Also 2 similar bronze Order of Merit medals: 1767 cast AE on thicker flan, no means of suspension and another 5th Period AE. F-VF (3) £150-200
13th (1st Somersetshire) Regt of Foot c 1830 silver cast and chased medal, obverse Sphinx with honour Egypt above bugle inscribed Ava and Martinique, with legend Medal of Merit For 14 Years Good Conduct", bar suspension; reverse plain, un-named, about VF; and a similar smaller piece for "7 Years Good Conduct" VF (2) £150-175
Royal Bristol Volunteers medal, obverse Bristol City arms with garter legend "Virtute et Industria", a scroll below "In Danger Ready"; reverse legend "Imbodied for the Maintenance of Public Order and Protection of their fellow citizens on the threat of Invasion by France MDCCXCVII. Revived at the renewal of hostilities MDCCCIII, Disbanded when the Deliverance of Europe was accomplished by the perseverance & Magnanimity of Great Britain and her allies MDCCCXIV", "Pro Patria" on scroll below. GVF £80-120
24th Light Dragoons silver regimental medal 1801, the oval piece set into a milled rounded border, 70mm x 55mm. Obverse "24th Regt of Light Dragoons" surrounding the arms of Lord Bentinck. Reverse "For Merit Won by Sergt J Chapman. The Gift of Lieut Col Lord Wm Bentinck 3 June 1801" (Balmer R112), NVF (enraving rubbed, slight gap between piece and rim at top). Balmer states "Lord William Bentinck appears to have had no direct association with this regiment". Ex Hollies Smith Collection £80-130
West Somerset Yeomanry, shooting medal, obverse struck device of mounted yeomanry officer left, with sword drawn, legend "West Somerset Yeomanry", with "C.K.K. Tynte Coll" in exergue.; reverse engraved in various styles "Jas Lock/ Best Pistol Shot/ Wellington Troop/ 1834/ May 31", diam 33mm, with block and ring suspender. VF (possible removal of letter from Lock on reverse) £100-200
Birmingham Loyal (Volunteers) Association 1802, silver struck medal 48mm, obverse Roman warrior being presented with a medal from Peace, city scape in background, legend "For True Patriotism" and in exergue "Peace MDCCCII", reverse legend "Presented to" and engraved over tablet "Willm Jones Light Compy Birmn Loyl Association" below which legend continues "By the Town of Birmingham May XXVIII MDCCCII" VF, few contact marks and edge knocks, some scratching to engraved panel). £80-120
Pimlico or Queen's Royal Volunteers engraved circular silver prize medal, obverse: Royal Arms, legend "Queen's Royal Volunteers" above and "1st Battn" below, with hallmarks for 1803; reverse: legend "Prize Medal/ given by/ Capt Merry/ 14th April 1804" with further engraving "to Mr Rd Miles" between Capt Merry and date. Ring suspender, 1-7/8" diameter, gilt overall. GVF (small test mark/scratch to edge). £80-120
Manchester and Salford Volunteers struck silver medal, obverse: bust of George III right with legend "The King Defended The Constitution Preserved", reverse legend "Presented by officers of the Grenadier Company 2nd Battalion Manchester and Salford Volunteers For Uniform Good Conduct 1802" with oak leaf wreath. VG (suspension claw re-affixed) £100-150
1st Manchester Rifles silver prize medal by J S Wyon, obverse Archer right with date AD 1400, reverse a Volunteer Rifleman kneeling firing left, above the legend "In Defence", a circumscription engraved "The Winner of the Challenge Cup of No 8 1st Manchester Rifles 1866", un-named. Diameter 52mm VF, minor edge nicks. £60-80
Waltham Abbey Volunteer Infantry, engraved silver circular medal, obverse: lion rampant left in crowned circle over four pointed star, legend "Waltham Abbey" above, "Volunteer Infantry" below, scroll on bottom star ray "March 1811". Reverse hallmarks for 1810 above engraved "Recruits Prize/ Firing with Ball/ at/ Fifty Yards/ awarded / to/ John Clarke". Diameter 4cm, fixed ring suspension VF £70-100
"Wickham Bishops Rifle Club" silver shooting medal, obverse 2 military personnel prone firing at a rifle range with adjudicator kneeling beside; reverse laurel wreath enclosing engraved inscription "Wickham Bishops Rifle Club/ Challenge Cup/ W.D. Smith/ 1913", diameter 37mm, hall marked Birmingham 1912. Ring suspender; un-named. GVF, small edge knock. £40-60
Dunfirmline Volunteers: an oval struck medal, 52x42mm, obverse a standing rifleman, legend "Best Shot at Ball Practice" and in exergue "Given by the Society for the Defence of the Country"; reverse crowned Garter encircling engraved presentation legend "Robert Thomson Dunfirmline Volunteers". GF, (some wear and edge nicks, remains of brooch mounting to reverse). £60-80
"Caledonian Challenge Shield Inst. 1863" gilt shooting award, central device of crowned Scottish shield set over St Andrew's Cross, diameter 45mm, reverse brooch pin, legend "City of Edinr. & Midlothian Rifle Assoc Inst 1861", name on outer rim "Sergt J Young 1st Midn Rifle Vols 1873" GVF, an attractive piece with a little wear to gilt; Society of Miniature Rifle Clubs HM silver award, un-named, diameter 32mm, HM Birmingham 1929 EF; a small silver and enamel miniature size medal for S.Miniature Rifle Clubs, un-named, HM Birmingham 1909, NVF, enamel chipped; Chatham Port Rifle and Revolver Meeting 1927 AE medal, un-named, in case; an AE Bloomsbury Rifles centenary medal, diameter 32mm, presented to Ernest W Hart at the Annual Inspection, GVF; and 14 other items. £60-70
A silver (not HM) shooting medal, obverse laurel wreath surrounding legend "1890 HON RES CORPS", reverse "2nd Prize/ Champion Match/ won by/ H.V. Anson", diameter 31mm, swivel ring suspension, VF; 5 other shooting medals including: Garton Cup Competition Aug 3rd 1908 named to J H Harper, HM Birmingham 1908, GVF; "First Champions of the Merthyr Air Rifle League 1906-7", HM Birmingham 1907, obverse inscribed "Gordon Lenox" and "R. Lewis", 35mmx28mm, VF; another medal, reverse engraved "S&D.M.R.L. 1908", HM Birmingham 1908, GVF; another with crossed rifles design, reverse engraved "S.D.R.L 1909", HM Birmingham 1909 GVF and 1 other shooting medal, 34mm, un-named, HM London 1923. GVF. £50-80,
War Office Rifle Club medal for "The Sister Agnes Challenge Cup" awarded to A.J. Madgin, piece diameter 30mm, the riband with top pin back bar brooch inscribed 1911, with 2 further bars for 1912 and 1913, manufactured by Elkington and housed in original case GVF. 3 HM silver shooting medals: Surrey Cadets Challenge Shield Competition 1916 (HM London 1911), awarded to F H Reid, diameter 28mm, VF, cased; "Jubilee Highest Possible Brighton 1933" (HM Chester 1932), diameter 25mm, obverse two lying riflemen with score board and 2 adjudicators behind, VF; and a silver medal with golden central shield "N.E.R.C.L. 1914" (silver HM Birmingham 1914, diameter 24mm. GVF (4) £80-100
A small collection of base metal shooting medals etc including: AE "Ascham & Woolwich Teacher's RC - NRA S.M.R.C" on circular flan, white target and crossed rifles to openwork centre, reverse engraved "Championship 1914 Special Medal Miss Bates", 30mm, NEF; "The Daily Telegraph Cup, Rifle Competition between teams of Regulars and Volunteers in the Home District 1900" bronze medallion, diameter 50mm, GVF; 3 Society of Miniature Rifle Clubs bronze and enamelled medals for Territorial Army Teams, 1933, 1934 and 1935, VF (some enamel loss); a modern AE medallion commemorating the Northumberland & Newcastle Yeomanry and the Presentation of Colours 1820 GVF; and a base metal medallion commemorating Queen Victoria's Review of the Scottish Volunteers in Edinburgh 1881, NF, worn, and 7 various RAF base medals for No 90 Group SAA Bisley 1952 Rifle Championship, RAF Small Arms Association etc, average VF and 4 other shooting medals. GC (18) £50-80
Shooting medal by J. Moore, obverse rifleman kneeling firing with a kilted officer standing by, legend "In Defence"; reverse laurel wreath surrounding engraved legend "Challenge Medal/ Won By/ J P Warrington/ May 1864/ July 1864/ May 1865", diameter 42mm, the medal of frosted silver set within a glazed silver frame, loop swivel suspender. GEF, slight tarnish behind glass and some minor chipping to edge of glass). A handsome piece. £60-80
Society of Miniature Rifle Clubs, 4 HM silver medals: each showing target and crossed rifles, first with white and black enamelled target, reverse plain, HM Birmingham 1929, 25mm, with ring suspender, the other three not enamelled, 25 x 35mm, with hallmark 1932 and engraved "S & D R L 1932-33"; 1934 with variation on design showing larger target, the obverse engraved "C & DRL 1933-34; and another also with smaller target, the face engraved "C&DRL 1935-36", reverse impressed "RU", HM 1935. All NEF. A similar MRC medal, HM Birmingham 1918, 29mm, un-named. NEF and a Territorial Army Rifle Association medal, HMs faint, diam 37mm, un-named, GVF; and a gilt "2nd City of London Volunteers" openwork medal, diameter 25mm, plain reverse. GVF (7) £40-60
3 Continental bronze silvered Shooting awards: "Union des Societes de tir et de Preparation Militaire de la Marne" showing 2 Riflemen in front of flag waving female figure, diameter 50mm, VF in case; Pavillon De Sports Montreux Du 25.4.30 2eme Prix" named to Madeleine Maurice, reverse 2 riflemen, 64mm x 45mm, VF in Paris maker's case (case stained); "2 Pr Jule Cup 1959" showing marksman with shield, reverse plain of design except Oslo maker's name, VF, (some plating wear). A Freundschafts Schiessen" medal with 3 laurel leaves and 1954 ribbon emblems, Neuchatel maker, VF; and a 4 lugged badge of crossed rifles over laurels and with ribbon scroll "3 Prix De Tir", VF. (5) £70-80
English Twenty County Championship bronze and enamel shooting medal/badge in case; and a corresponding teaspoon. 5 HM silver and 14 EPNS teaspoons mostly with rifle/pistol shooting motifs; 5 forks and 1 serving spoon, plated, marked "Bisley Camp Pavilion"; 4 items of cutlery stamped NRA; a souvenir teaspoon of The White House. Also a shield/plaque in HM silver, on stand, inscribed Bisley 1929 (dented); a Sussex County RA ashtray; a small plated cup on 3 crossed rifles "trophy" and 3 other items. GC £40-60
A WWI Iron Cross, the three piece construction, being magnetic, stamped to the hanger loop (possibly M-8), together with a WWI Merit Cross with swords, stamped G & S to reverse, a Third Reich National Saving badge, Belgian Labour medal and more (parcel) possibly reproduction, please form own opinion before bidding
A job lot of various items, to include a German 4 Year Service medal, an Iron Cross, WWII Merit Cross, a Bulgarian Commemorative War medal, an Acme Thunderer, a belt buckle, a Flak badge, Coastal Artillery badge and more (parcel) possibly reproduction, please form own opinion before bidding Condition Report:possibly reproduction, please form own opinion before bidding, please see additional images
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