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Lot 6
A George VI Army Long Service and Good Conduct Medal to Lieut J Thornhill, Northumberland Fusiliers, together with 1930s King's Own Scottish Borderers, Royal Tournament silver and other sporting medallions to the same, a Defence medal and a British Nuclear Weapons Test Medal to 4176257 SAC Thornhill J, RAF, etc
Lot 71
An Eclectic Collection, to include a silver cycling medal dated 1889, mother of pearl religious frame, pipes including one stamped H. Simmons, Greek carved wooden harvest bowl, a carved horn casket, various antiquarian buckles, two brass oil lamps, commemorative coins from Theakston brewery etcFrom the Estate of Stephen Hamilton Rawlings, Scarborough.
Lot 1007
French School (19th Century)Portrait of a gentleman, bust length, wearing a high collar, neck tie and medal Oil on canvas, together with a British pastel portrait of a lady wearing a mobcap, 46.5cm by 38cm (unframed) and 22cm dia. (oval)From the Estate of Stephen Hamilton Rawlings, Scarborough.
Lot 1310
Assorted Sewing Accessories and Jewellery, comprising bodkins, needlecases, scissors, bodkin holders'William' spot decorated bone lace bobbin and a wooden examplethimbles including Royal Copenhagen, Limoges and othersGerman pale blue enamel 925 bobbin holder, oval buckle with paste stones, ladies wristwatch, silver filigree brooch, 1932-33 silver football medal, stick pin etc(one box)
Lot 276
Six boxes of miscellaneous items including woodware, clocks, books, metalwares, lamp bases, a set of CDs containing the 1861 census for various parts of London, glass ware, a Dunn Co bowler hat, a miniature civiliian OBE medal, binoculars, plus another case containing classical music, vinyl albums (7 boxes total)
Lot 101
LITTLEWOODS / LEAGUE CUP FINAL MEDAL 1987 A package including the original boxed medal that was awarded to players after the Arsenal v Liverpool match. The medal was a smaller replica of the original Littlewoods Cup Trophy with a removable lid and includes the original box that was presented to the players. In addition to the boxed medal are a Football League Commemorative Medal for the 1987 Littlewoods Challenge Cup Final, Littlewoods Challenge Cup cap, a Littlewoods tie, match programme, menu and invitation to the Football League luncheon, a Car Park Pass and 2 B/W Press photos with the trophy on show. Good
Lot 219
COACHING AWARD Whilst with Arsenal, George Armstrong was awarded heavy uniface light bronze medal for a Football Coaching Course, Yangon, 1995 140 mm, in blue card case of issue with plaque ‘To commemorate the football coaching course jointly organised by S.P.E.D., M.F.F., Strata Sports Marketing and Tero Entertainment Holding Co, Yangon, Myanmar, June 1995. Box is slightly worn. Generally good
Lot 95
First World War Memorial plaque to Richard Norman (29796, 1st Battalion of the Wiltshire Regiment who died on 21st October 1916, aged 21) with certificate, together with two medal pairs awarded to Private R. Norman of the Somerset Light Infantry and Private W. Norman of the Army Service Corps, comprising War Medal and Victory Medal (20530 PTE. R. NORMAN. SOM. L.I) and (R4-139896 PTE. W. NORMAN. A.S.C.) and a quantity of postcards
Lot 96
First World War medal pair awarded to T. Willmott, Stoker 2, Royal Navy comprising War Medal and Victory Medal (K.30787 . T. WILLMOTT. STO. 2. R.N.), together with another First World War medal (B.Z. 1854 S.W. LONG. TEL . R.N.V.R.), Second World War medal group comprising; 1939-1945 War Medal, The Defence Medal, The 1939-1945 Star and The France and Germany Star
Lot 360
A collection of commemorative coins and stamps, including a small collection of modern Princess Diana commemorative coins and medallions, including a 2022 Republic of Congo 100 Francs gold medal, 1/200 oz, two large medallions and two boxed sets, a Heritage Coin and Stamp Set for the Platinum Wedding Anniversary, and more, two boxes
Lot 353
Breon O'CASEY (1928-2011) Men Bygham, 2008 BronzeImpressed initials and numbered XIVLength 7cm, width 5cmThe original concept for this work was commissioned by the British Art Medal Society. ‘When I was asked to make a medal, I had no idea how to go about it. Luckily the definition of “medal” was very tolerant; but even so the prospect was daunting. I had to put my thinking cap on.‘I eventually got some pebbles from the beach, dipped them into molten wax several times to build up a layer of wax, shaped them a bit, and then, when they were hard, carved lines into them. Whether the result is any good is not for me to say; and why these lines and not others, I have no idea; the idea is there but can’t be translated into words.’ Breon O'CaseyThere appears to be no condition issues. We have seen several of these and the patination is more complete on those. This has a more weathered look
Lot 388
EDWARDIAN GILT METAL MEDALLIONinscribed 'In memory of a hero of the Indian Army, this medal was founded by his friends and comrades for presentation to the Senior Cadet of the team', and depicting a profile of Field Marshal Sir Henry Norman, inscribed 'Gentleman Cadet (Serjeant) Henry Richard Caine Meade, Royal Military College Dec 1909', cased, together with a Victorian silver and enamel Police fob bearing a crowned VR, truncheon, handcuffs and a police lamp, Birmingham 1899 (2)
Lot 10
FEDERICO JIMÉNEZ Y FERNÁNDEZ (Madrid, 1841- 1931)."Hunting".Oil on canvas.Signed in the lower left corner.Size: 47 x 28 cm; 76 x 55 cm (frame).Federico Jiménez Fernández studied at the Special School of Painting, Sculpture and Engraving of San Fernando in Madrid, where he was a disciple of Carlos de Haes. He then went to Paris in order to further his training. He specialised in painting domestic animals and poultry, a genre that was little developed in Spain, of which "The Judgement of Paris" and "Two Dead Hares and a Partridge" (Museo del Prado) are good examples. He also cultivated portraiture, particularly that of "Don Agustín Argüelles" (Ateneo de Madrid). He participated assiduously in the National Exhibitions of Fine Arts, receiving honourable mentions in 1858 and 1860, a third medal in 1862 for a canvas entitled "Un cuadro con caza muerta" ("A painting with dead game"), and decorations in the editions of 1878 and 1895. He was also awarded a silver medal at the International Exhibition in Bayonne in 1864, and the art medal at the Vienna Exhibition in 1873. In recognition of his artistic merit, he was made a Commander of the Order of Charles III. Federico Jiménez Fernández is currently represented in the Prado Museum, the Municipal Museums of Játiva and Málaga, the Nelson Zúmel Collection of the Provincial Museum of Lugo, the National Museum of Fine Arts in Buenos Aires, the Ministries of Culture and Industry, the Spanish Embassies in London and Vienna, the City Council of La Coruña, the Museum of Zaragoza and the General Directorate of the Police in Madrid, as well as in various private collections.
Lot 11
FEDERICO JIMÉNEZ Y FERNÁNDEZ (Madrid, 1841- 1931)."Hunting".Oil on canvas.Signed in the lower central margin.Size: 47 x 28 cm; 76 x 55 cm (frame).Federico Jiménez Fernández studied at the Special School of Painting, Sculpture and Engraving of San Fernando in Madrid, where he was a disciple of Carlos de Haes. He then went to Paris in order to further his training. He specialised in painting domestic animals and poultry, a genre that was little developed in Spain, of which "The Judgement of Paris" and "Two Dead Hares and a Partridge" (Museo del Prado) are good examples. He also cultivated portraiture, particularly that of "Don Agustín Argüelles" (Ateneo de Madrid). He participated assiduously in the National Exhibitions of Fine Arts, receiving honourable mentions in 1858 and 1860, a third medal in 1862 for a canvas entitled "Un cuadro con caza muerta" ("A painting with dead game"), and decorations in the editions of 1878 and 1895. He was also awarded a silver medal at the International Exhibition in Bayonne in 1864, and the art medal at the Vienna Exhibition in 1873. In recognition of his artistic merit, he was made a Commander of the Order of Charles III. Federico Jiménez Fernández is currently represented in the Prado Museum, the Municipal Museums of Játiva and Málaga, the Nelson Zúmel Collection of the Provincial Museum of Lugo, the National Museum of Fine Arts in Buenos Aires, the Ministries of Culture and Industry, the Spanish Embassies in London and Vienna, the City Council of La Coruña, the Museum of Zaragoza and the General Directorate of the Police in Madrid, as well as in various private collections.
Lot 116
MODEST URGELL INGLADA (Barcelona, 1839 - 1919)."Landscape with figure and ruins".Oil on canvas.Signed in the lower left corner.Size: 75,5 x 52 cm; 92,5 x 70 cm (frame).Modest Urgell began his career as a theatre actor, but the family's prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he came into contact with Gustave Courbet and became a follower of realism. During the 1960s his works were rejected at the official exhibitions in Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, the creator of the local landscape school. From then on Urgell decided to devote himself fully to landscape painting. His work focused on solitary natures and seascapes, often featuring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the Sant Jordi School of Fine Arts in Barcelona, and was appointed an academician in 1902. He was also the founder of the Artistic and Literary Society of Catalonia and of the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts in Madrid from 1864 until the year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the Barcelona exhibitions, as well as to the Universal Exhibition in Paris and the international exhibitions in Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he won prizes in all the competitions in which he took part, including the Brussels competition, in which he was the only Spaniard to win a prize. He also devoted himself to literature, with a special interest in the theatre. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than a hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, colour and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, with brilliant chromaticism, like windows open to southern sensuality. His paintings, on the contrary, speak of melancholy and solitude, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque subject matter, taking up ordinary subjects without attempting to ennoble or idealise them, but rather seeking to provoke states of mind in the viewer through twilight that dissolves, for brief moments, in a harmony of reds, or his desolate cemeteries and severe, bare, stripped seascapes. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle in Hamburg, the Víctor Balaguer Museum in Vilanova i la Geltrú, the Caixa Sabadell and Caixa d'Estalvis de Terrassa Art Funds, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centres and institutions.
Lot 117
JOSÉ RICO CEJUDO (Seville, 1864 - 1943)."Mozos", Seville.Oil on canvas.Signed and located in the lower left corner.Measurements: 84.5 x 40 cm; 89.5 x 45.5 cm (frame).Rico Cejudo offers us a work which, although it tends towards the anecdotal, possesses great narrative sincerity. He shows three young lads carrying bullfighting implements, such as the rapier and the cape with which the bullfighter will fight in the ring. The firm, vigorous drawing and the sense of colour with its strong tones, but restrained in nuances, are outstanding.Born in Seville on 27 March 1864, he entered the Provincial School of Fine Arts as a child, learning from Manuel Wssel, Eduardo Cano and José García Ramos until 1887, when he was still a pupil at the school and won a cash prize for his painting El niño de la paloma ("The Boy with the Pigeon"). The following year he moved to Rome on a pension from the Seville City Council. He remained there until 1895, seeking the guidance of the Sevillian Villegas and the Jerez-born Gallegos. He also took the opportunity to travel to Naples and Venice, the latter city where he made numerous visits like so many other painters of the Spanish colony in Italy, attracted by the polarising influence of the settlement there of Fortuny's widow, Cecilia Madrazo, and the frequent visits to that "court" of the most prestigious of the Fortuny family, such as Martín Rico and Villegas himself. The Italian paintings Rico Cejudo delivered to the Seville City Council as pension remittances - A Pompeian Woman (1889), Study of a Male Nude (1889) and The Easter Blessing in Rome (1893) - are works that reflect the marvellous resources he had acquired in Italy: a vigorous, firm drawing and a sense of colour with strong tonalities but restrained nuances, balanced compositions and subjects which, although tending towards the anecdotal, possess narrative sincerity. These qualities survive in his early years after his return to Seville and are evident in La promesa ("The Promise", 1906), one of his finest works. In those years, specifically from 1897 onwards, he also devoted himself to teaching, giving drawing classes at engineering, architecture and military preparatory academies, and later, in 1905, to colouring and decorative composition as an assistant at the School of Arts and Industries (which is what the Schools of Fine Arts were called from 1900 onwards), eventually taking up the post of assistant lecturer. Finally, in 1907 he became a full member of the Santa Isabel de Hungría School of Fine Arts in Seville. However, most of his later work was less creative, with easily sold works of little originality, following the prototypes of García Ramos and Gonzalo Bilbao, with the casticism of the former and the luminarist realism of the latter. His participation in official competitions at the National Exhibitions included his third of his pensioner works, La bendición pascual en Roma ("Easter Blessing in Rome") in 1895, for which he received an honourable mention; 1897, ¡Pobre huérfana!; 1901, Vicio y remordimiento; 1904, Con achaque de primo, Para la procesión y dos retratos, honourable mention; 1906, La promesa; 1908, Aseo matutino; 1910, retrato de su hija and Estío; 1915, Futuros astros and El aguador; 1920, En la Feria and Floreras, with the second of which he obtained his highest award, a third-class medal, in addition to its acquisition by the State for 4.000 pesetas; and 1922, Preparando la fiesta and Antes del rosario ("Before the Rosary"). His presence at various exhibitions in Seville, Granada and Malaga is also documented, as is his attendance at some of Pinelo's commercial exhibitions in Buenos Aires and the one in Mexico in 1910, where he was awarded the only medal. Finally, Rico Cejudo was also an illustrator, writer of short novels, author of scholarly articles on archaeology and art in Sevillian newspapers, and even a flamenco singer.
Lot 41
JUAN BAUTISTA PORCAR RIPOLLÉS, (Castellón de la Plana, Castellón, 1889 - 1974)."Port landscape".Oil on canvas.Signed in the upper right corner.Unframed.Measurements: 60 x 81 cm.Trained with Vicente Castell, in 1906 he travels to Valencia thanks to a scholarship, and enters in the School of Fine Arts of San Carlos. Four years later he settled in Barcelona, where he studied at the La Lonja School. After completing his studies, in 1915 he returned to Castellón, where he founded the Agrupación Ribalta, which focused on landscape painting. A regular at the Círculo Artístico de Sant Lluc in Barcelona, he made his individual debut at the La Pinacoteca gallery in 1918, where he continued to exhibit frequently from then on. He took part in the Barcelona International Exhibition of 1929, as well as in international competitions in Venice, Oslo, Buenos Aires and Paris. In 1954 he won the first medal at the National Exhibition of Fine Arts, an award which brought him definitive recognition. Porcar is represented in the Museums of Fine Arts in Valencia, Alicante and Castellón, the Museum of Contemporary Art in Vilafamés, the Lladró Museum and the National Theatre Museum in Almagro, among others.
Lot 42
RAFAEL DURANCAMPS (Sabadell, 1891 - Barcelona, 1979)."Capea en Loja".Oil on canvas.It presents faults in the frame.Signed in the lower left corner. Signed and titled on the back.Measurements: 38,5 x 85 cm; 60 x 106 cm (frame).Rafael Durancamps made several works dedicated to bullfights such as the bullfight of Seville or the bullfight of Bilbao as well as the work "Capea" which is in the Carmen Thyssen Bornemisza Collection. In all of them the artist created a work in landscape format, as in this case, which allows him to open up the panoramic view and increase the spatial sensation. This work is an excellent example of his paintings dedicated to the aforementioned theme, with the action taking place in a foreground populated by characters and an urban silhouette dominating the background.Originally called Rafael Duran i Camps, he was a disciple of Vila Cinca at the Industrial School of Arts and Crafts in Sabadell. Later he met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps's 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.
Lot 6
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Carnival".Ink and watercolour on paper.Signed in the lower right corner.Frame in bad condition.Measurements: 29 x 26 cm; 40,5 x 37,5 cm (frame).The street overflows with festive activity and devotion for the dance, the mask and the disguise in this composition of Ricardo Opisso, of overflowing imagination. Opisso was a painter, cartoonist and comic artist. In his youth he took part in Barcelona's modernist milieu, and in 1894 he began to work as an apprentice with Antoni Gaudí on 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 native city at the 4th Tarragona Art Fair. During his early years, in addition to his surname, Opisso also used to sign his work with an "O" for Opisso, which contains the "R" of his name. 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, entitled "Pintura catalana, del naturalisme al noucentisme" (Catalan Painting, from Naturalism to Noucentisme), was particularly noteworthy, in which his work "Carnaval" (Carnival) was exhibited. 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).
Lot 61
BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Chaparros", 1972.Oil on canvas.Signed and dated in the left lateral corner.Exhibitions: Galatheo Gallery, December 1973.Attached are photocopies of the chronicles of the newspapers of the time, which selected this piece to report on the exhibition in December 1973.Work verified by Ramón Palencia.Size: 53 x 63 cm; 65 x 87 cm (frame).After beginning his training as a self-taught artist, Palencia moved to Madrid at the age of fifteen. In the capital he entered the Julio Moisés Free Academy, where he coincided with other outstanding painters such as Salvador Dalí. In 1926 he travelled to Paris and met Picasso and Miró, and on his return to Madrid he made his individual debut at the Museum of Modern Art (1928). He then made several study trips to Italy, Berlin and New York. In 1942 he took up the experience of the Vallecas School, of which he was a founder in 1927, and in 1943 he was awarded the First Medal at the National Exhibition of Fine Arts. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and a few years later of the Academy of San Jorge in Barcelona. Palencia is represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.
Lot 68
JOAQUÍM MIR TRINXET (Barcelona, 1873 - 1940)."Painter's Garden, Vilanova.Oil on canvas.Signed in the lower right-hand corner.Size: 55 x 65 cm; 64,5 x 74,5 cm (frame)."I only want my works to gladden the heart and flood the eyes and soul with light". This is how Mir summed up his manifesto as a painter in 1928. Colour and light meant everything to the Barcelona painter, and with them he constructed a personal language with which he created a surprisingly modern work, always based on a new vision of nature. In this work Mir demonstrates his absolute mastery of technique and of capturing the landscape, in an image of the garden of his house in Vilanova in which he succeeds in synthesising naturalistic rendering, personal expression and pictorial order. We see a sensitive brushstroke, which explores the space and gives it form and entity, creating volumes, lights and shadows, defining an atmosphere captured with great sensitivity. Through a purely personal language, Mir synthesises the basic elements of representation and expressiveness of painting, as can be seen in the intensity of his colours and the rigour of his compositional structure.Joaquín Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893 he formed the "Colla del Safrà" together with artists such as Isidro Nonell, Ricard Canals and Ramon Pichot, and in the last years of the century he was associated with the artistic environment of "Els Quatre Gats". He completed his training in 1895, when he spent some time in Madrid copying works by Velázquez. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, particularly that of Sa Calobra, which was an inexhaustible source of inspiration for him. In 1901 he held a solo exhibition of the fruit of this first Mallorcan period at the Sala Parés in Barcelona, and once again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.
Lot 73
CONSUELO PERALTA DE RIEGO PICA (Puerto Rico, c. 1810-1875)"Bath Time", 1847.Oil on canvas.Signed and dated on the reverse.Frame with slight lack of polychromy.Some old restorations.Measurements: 47 x 38,5 cm; 69 x 60 cm (frame).Consuelo Peralta was an outstanding painter of the Puerto Rican school, in the line initiated by José Campeche. There were few women painters in the nineteenth-century circles of the San Juan competitions, which makes it particularly significant that Peralta was the first woman to receive a gold medal in the Eighth Section of Fine Arts (1860). In fact, the painter had been an active participant in the San Juan exhibitions since 1855. She developed religious themes, but also landscapes of a romantic nature such as the present one: three girls dipping their feet in the stream formed by a fountain. An ancient arch covered with moss and rocks sculpted on the horizon give the scene an idyllic setting.
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