JAUME PLENSA (Barcelona, 1955)."Untitled" 2012.Painting on cotton (T-shirt).Signed and dated.Size: 73 x 80 cm; 82 x 90 cm (frame).Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work both in terms of material and form, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.
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JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990)."Characters".Ink and pencil on paper.Unsigned.It shows dirt, damp, wrinkles and faults.Size: 37 x 37 cm; 60 x 60 cm (frame).Joan Brotat studied at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona. He held his first exhibition on the initiative of Ángel Marsà, who invited him to take part in his Cycle of Experimental Art in 1950. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. After an initial period characterised by a modernist-influenced language and conventional subject matter, his style evolved towards a primitivism that made him very famous. Brotat adopted the viewpoint of the old Catalan Romanesque painters to the narration of contemporary life, bringing an apparent naivety to his compositions that earned him notable success. During these years he also experimented with informalism, collage and gestural art within the Dau al Set group. In the 1960s, when he returned to figurative art, his style became consolidated, characterised by figures with large, melancholic faces, the application of colours in flat patches and the absence of perspective in his compositions. His awards include the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among others. Brotat is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Museums of Modern Art in Madrid and Alexandria and the Municipal Museum in Valls.
WW1 Single British War Medal Full Entitlement for Service with the Royal Naval Air Service, awarded to “F-26074 D G GEORGE A.C.1 R.N.A.S”. Complete with ribbon and in good condition. David Gibbon George was born on 21st September 1879 in Pembroke South Wales. Medal card shows only entitled to the British War Medal. He served at Royal Naval Air Service seaplane training school, HMS Daedalus, Lee-on-Solnet, Hampshire
Soldiers Soldiers British and Colonial Forces including two Burial Parties twenty-one Musicians, Medal Presentation Ceremony, fourteen seated Royal Marine Musicians (no chairs) 92a Post Office Rifles and 283a Gurkha Medical Unit in original boxes (Condition Excellent, boxes Good-Fair) (160 approx.)
WW2 1939-1945 War Medal Awarded to Nurse Miss E Wallwork. Also A Silver Queens Institute of District Nursing Badge and Small Silver Ring. Red Cross Shoulder Badge and O.H.M.S Official Box with Medal Conformation Slip to State Registered Nurse and St Johns Ambulance Badge. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Ceria temblor", 1995.Oil on canvas.With label on the back from Fauna's Gallery (Madrid).Signed in the lower right corner.Measurements: 27 x 38 cm; 40,5 x 48,5 cm (frame).A surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.
NURIA LLIMONA RAIMAT (Barcelona, 1917 - 2011)."Calvary".1964.Fire enamelled terracotta.On wooden panel.Signed and dated on the back.It presents cracks and damages.Measurements: 41 x 27 cm (Christ); 47,5 x 33 cm (frame).Daughter of the painter Joan Llimona and niece of the sculptor Josep Llimona, Núria discovered her early vocation at the age of twelve. During the 1930s she studied at the Barcelona School of Fine Arts, which was closed during the years of the Civil War because of the danger of bombing, given its proximity to the sea. After the war, Llimona resumed his studies and obtained his degree, which enabled him to teach for fifteen years at the same school. He held his first solo exhibition at the Syra gallery in Barcelona, and since then he has held personal exhibitions at other galleries such as Novell and Parés, as well as with different groups. She has also taken part in official exhibitions, winning several prizes, and was president of the 9th and 10th editions of the Salón Femenino de Arte Actual. In 2000, Núria Llimona received the Sant Jordi Cross, and in 2006 she was awarded the Barcelona Medal of Honour. She is currently represented in the Museums of Contemporary Art in Madrid and Barcelona.
JOSE MURILLO BRACHO (Seville, 1827 - Malaga, 1882)."Still life with figs".Oil on panel.Signed in the lower right area.Measurements: 27 x 18 cm.Still life of baroque heritage as for the illumination and the composition, starring only figs in different states of ripeness. Although he was born in Seville, José María Bracho Murillo - when signing his name he inverted his surname - is considered to belong to the Malaga school. He lived in Seville until 1876, where he studied at the Academy of Noble Arts of Saint Elizabeth of Hungary, where in 1844, at the age of seventeen, he won the first prize in the classes of Model in Plaster and Pieces. Among his teachers at that time was the famous painter Antonio María Esquivel, who became his teacher. He taught drawing in Cadiz in the middle of the century, and in 1854 he commissioned Esquivel to paint two large nude works: "La casta Susana" and "La mujer de Putifar". He also taught line and figure drawing at the Jerez de la Frontera secondary school and took part in the local exhibitions of 1858 and 1862, where he won a silver medal. It seems that he also sent works to the National Exhibition in Madrid at that time. Later he took part in the National Exhibition of 1871, and was praised by the critics with phrases such as "You deserve a flower for your beauty" (Ramos Carrión). In 1876 he was in Malaga, where the San Telmo Academy of Fine Arts hired him as a teacher and acquired several of his paintings as teaching material for the colouring class. In 1877 he presented several still lifes and fruit paintings at the exhibition held on the occasion of King Alfonso XIII's visit to Malaga. On this occasion, the monarch heard from the master Ferrándiz that Murillo Bracho "paints with the mastery of a teacher and the precision and awareness of a nature lover. The flowers are real, without his realism offending us". Some of his works exhibited on this occasion were later acquired by the city council. In 1878 he again took part in the National Exhibition, with several paintings of flowers, grapes and other fruits. That same year he took part in the Universal Exhibition in Paris. Despite his deteriorating health, Murillo Bracho took part in the local exhibition of 1880 with several of his paintings. Murillo Bracho's work was always dominated by his two favourite themes, grapes and flowers, depicted in a purist language that recalls bygone eras through its balance, weight and skill. His painting is based on the real fidelity of the objects to be represented, always rich in their chromaticism and with an attractive and elegant appearance. Murillo Bracho is currently represented in the Municipal Museum of Malaga.
MONTSERRAT GUDIOL COROMINA (Barcelona, 1933)."Couple", 1977.Mixed media on paper.Signed and dated in the lower right-hand corner.Size: 65,5 x 49,5 cm; 66,5 x 50,5 cm (frame).Montserrat Gudiol began in the world of art in the family studio for the restoration of medieval painting, and from 1950 she began to paint on panel and on paper. That same year she held her first individual exhibition at the Casino de Ripoll (Girona). In 1953 he took part in the group exhibition "Retrato actual" ("Current Portrait") at the Círculo Artístico in Barcelona, and the following year he made his debut abroad with a solo exhibition of drawings held at the Miami Museum (USA). That same year she took part in the collective exhibition "Pintura femenina" (C.I.C.F. of Barcelona), winning the First Prize of the Diputació de Barcelona and the Second Prize of the same organisation, San Jorge. In 1960 she took part in the National Exhibition of Fine Arts held in Barcelona, where she won a third medal, and also took part in the International Drawing Exhibition of the Ynglada Guillot Foundation (Barcelona), where she was awarded First Prize. In 1962 she held an important individual exhibition at the Sala Gaspar in Barcelona (a gallery where she would be present again from then on), and that same year she took part in a collective exhibition held at the Casón del Buen Retiro in Madrid. Since then he has continued to hold solo exhibitions and to take part in group shows, both in Spain and in Germany, South Africa, the Czech Republic, China, France, Japan, the United States, Russia and Canada. His personal exhibitions include those held at the Pieter Wenning Gallery in Johannesburg (1967), Tamenaga Gallery in Tokyo (1974), Au Molin de Vauboyen in Paris (1978), the Exhibition Hall of the Union of Painters of the USSR in Moscow (1979), the Dreiseitel Gallery in Cologne (1981) and the Walton-Gilbert Gallery in San Francisco (1984). In 1980 she produced an important monumental work for the Abbey of Montserrat, a representation of Saint Benedict. In 1981 she was the first woman to join the Royal Catalan Academy of Fine Arts of Sant Jordi, and in 1998 the Generalitat de Catalunya awarded her the Cross of Sant Jordi. She is currently represented at the MACBA, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes de Bilbao, the Museums of Modern Art in Johannesburg, San Diego, Miami and Flint (USA), the Joseph Cantor Foundation in Indianapolis (USA), the International Olympic Committee in Lausanne (Switzerland), the Monastery of Montserrat and the Royal Academy of Fine Arts of Sant Jordi.
JOSÉ MARÍA RODRÍGUEZ DE LOSADA (Seville, 1826 - Jerez de la Frontera, Cádiz, 1896)."Portrait of a lady with a shawl.Oil on canvas.It preserves a period frame with important faults.Signed in the lower right corner.Measurements: 82,5 x 62,5 cm; 105 x 82 cm (frame).José María Rodríguez de Losada began his apprenticeship in Seville, but developed all his pictorial activity in Jerez de la Frontera. He was a history painter and portrait painter, although in his early years he devoted himself to genre painting, as evidenced by his work "Pareja de majos" ("Couple of Majos") of 1843. According to Valdivieso, "Rodríguez de Losada's artistic style shows a loose, scrubbed, sometimes careless and summary brushstroke. This technique, salutary in principle because of its modernity, was rejected at the time by critics, especially for being accompanied by a violent colouring with a predominance of brownish tones which, in effect, produce little visual gratitude". In fact, the artist's work is markedly influenced by Romanticism, which is reflected in his painting in an intense thematic and formal dramatism that is very different from the cheerful, gentle feeling of the paintings of many of his contemporaries. Among his most important historical works are "Columbus's Landing in America" (University of Barcelona), "The Battle of Alcolea" (Academy of History) and "Doña Juana la Loca with her Husband's Corpse" (Museum of Cadiz). Rodríguez de Losada also drew inspiration from literature and art for some of his works, such as "The Brave Mayor of Zahara", "Quevedo Reading an Epigram against the Count Duke of Olivares" and "Valdés Leal Inspired to Paint the Last Days". Of neo-Romantic inspiration were paintings such as "A Widow Finding her Husband's Corpse on the Battlefield" (1858), and as a portraitist, the portrait of Alfonso XII (Diputación de Cádiz) is particularly noteworthy. He also painted religious themes and some still lifes, such as "Dead Duck" (1884). A member of the Order of Santiago and a corresponding academician of San Fernando, Rodríguez de Losada took part in the National Fine Arts Exhibitions for several years, receiving honourable mentions in the 1858 and 1867 editions. He was also awarded the silver medal of Charles III at the Seville Exhibition of 1843, a gold medal at the exhibitions organised by the Academy of Saint Isabel of Hungary in Seville in 1854 and 1856 and a gold medal at the exhibition organised by the Friends of the Country in 1858. His work can now be seen in the Museo del Prado and the Museo Provincial de Cádiz, as well as in other public and private art collections.
FRANCESC MASRIERA MANOVENS (Barcelona, 1842 - 1902)."Lady", 1900.Oil on panel.Signed and dated in the lower right corner.Size: 32 x 25 cm; 60 x 52 cm (frame).As it can be appreciated in this work, Masriera put special interest in the female figure, deepening in the eroticism and in the emotional strength of his portraits, which he used to represent in sumptuously ornamented environments and adorned with rich dresses, headdresses and jewels. In the present painting we see a young woman lying on a sofa in a prosaic pose. The scene is resolved by the contrasting treatment of the light, the framing close to photography and the austere palette.A painter, writer and goldsmith, Francisco Masriera cultivated the genre of portraiture and Orientalist painting, and is now considered one of the best portraitists who followed in Fortuny's footsteps. The son of the prestigious goldsmith José Masriera Vidal and brother of the painters José and Luis Masriera, Francisco began his artistic training under his father's guidance in the family jewellery workshop and with the painter José Serra Porson. He then travelled to Geneva to learn the technique of enamelling, although he gradually turned to painting, specialising in portraits. Around 1865 he moved to Paris, where he attended Alexandre Cabanel's studio and devoted himself to copying the great masters of the Louvre. He subsequently travelled to Rome, where he began to paint Orientalist canvases. As a writer and columnist he contributed to the magazine "El Recuerdo". Francisco Masriera took part in the Universal Exhibitions in Paris in 1867, 1878 and 1889, and was awarded a third-class medal at the latter. At the National Fine Arts Exhibition in Madrid in 1878 he was awarded a second medal for the work entitled "La esclava" ("The Slave"), which was finally acquired by King Alfonso XII. He also showed his works at the Bosch gallery in Madrid in 1882 and at the Sala Parés in Barcelona in 1889. His portraits include the one he painted of the Queen Regent Maria Cristina with her son Alfonso XIII in 1888, which currently presides over the Queen Regent's Hall in Barcelona's Casa de la Ciutadella. Close to the group of Spanish painters based in the French capital, including Francisco Miralles, Romà Ribera and Federico de Madrazo, his international reputation was strengthened when he signed a contract with Goupil, the most important art dealer of the day, to sell his work. His paintings are characterised by the perfection of the drawing, the careful composition and a colouring full of strength and luminosity, which is particularly evident in the sunny tones of the canvases. This painter practised a preciousness full of fantasy and decorative sense, in which the freshness of the colour is reminiscent of the gallant painting of Watteau and Fragonard. In his studies, compositions and portraits he focused mainly on the female figure, depicted in sumptuously ornamented settings and adorned with rich dresses, headdresses and orientalist jewellery. Francisco Masriera is represented in the Museo del Prado, the Museo de San Telmo in San Sebastián, the Museo de Bellas Artes de Álava, the Museo Nacional de Arte de Cataluña, the Museo de la Abadía de Montserrat and the Patrimonio Nacional, as well as in various private collections.
"TINO", CONSTANTINO GRANDIO LÓPEZ (Santa Olalla de Lousada, Lugo, 1924 - 1977)."Hunter", 1966.Oil on canvas.With a label on the back from the Macarrón Gallery.Signed and dated in the lower right-hand corner.Measurements: 70 x 52 cm; 79 x 58,5 cm (frame).Grandio's painting always oscillates between neutral tones, especially white in contrast with black, in such a way that this work stands out for the play of colour that he achieves on the basis of wide fields of different tones, which make up an idealised landscape. As the protagonists of the scene, the silhouettes of a dog and a gentleman carrying a shotgun show us the conceptualisation of traditional hunting paintings. This same concept, in which scenes with an almost costumbrista theme are presented based on figures cut out against a background of faint, neutral tones which blend into each other, was common in the work of Tino Grandio, as can be seen in his painting "Ploughing with a Roman plough", which belongs to the Abanca collection. It is an image aesthetically conceived from the point of view of abstraction, as if it were a primordial path that the artist follows until he reaches figuration in a subtle and lyrical way. The treatment, based on broad brushstrokes, brings a great symbolism to a totally indeterminate atmosphere.Tino Grandio studied high school in Lugo and then moved to Santiago, but soon abandoned his studies to devote himself definitively to painting. In 1949 he went to Madrid, where he was assisted by the sculptor Cristino Mallo and the painter Díaz Caneja, joining the group of the Madrid School. In 1955 his work was selected for the Hispano-American Art Biennial held in Barcelona, and he made his individual debut in 1957 with an exhibition at the Dirección General de Bellas Artes in Madrid. Since then he has held numerous solo exhibitions in Madrid, Barcelona, Lisbon, Paris, New York, Munich and Alexandria. He also took part in group exhibitions in Europe and South America. An award-winning painter since his youth, he won the Lugo provincial prize in 1944, and since then he has been awarded other important prizes such as the Stanley Kramer (1956), Cance (1960) and Unicef (1968) prizes, and was awarded first prize at the Anthological Exhibition of the Círculo de las Artes in Lugo (1964), grand prize and medal of honour at the first Galician Biennial (1966), and the International Grand Prize for Painting at the Marbella Biennial (1971). He took part in the National Exhibitions of Fine Arts, being awarded the third medal in 1962, the second in 1964 and the first in 1966. In 1963 he was awarded the Grand Prize of the General Directorate of Fine Arts. In 1965 he was awarded a scholarship by the March Foundation. After his death, several anthological exhibitions were dedicated to him in different parts of Galicia, sponsored by the Fauna gallery, among which the Homage Exhibition held in the Provincial Council of Lugo in 1979 stands out. In 2005, the Museum of Fine Arts of La Coruña dedicated an anthological exhibition to him entitled "Painting with the mists". Tino Grandio is currently represented in the Centro Galego de Arte Contemporánea de Santiago de Compostela and in the Museo de Arte Contemporáneo de Madrid, as well as in many other museums in Spain, Europe and America.
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.
MANOLO VALDÉS (Valencia, 1942)."Queen Mariana II".Etching and aquatint intervened by the artist. Copy 45/50.Signed and justified in the lower part.Measurements: 100 x 68 cm; 124 x 91 cm (frame).The classics are a constant in Valdés' work, both the painters and the figures they have created and made iconic. In this particular case, the female figure in the scene is shown without a face, although her clothing and silhouette bring the viewer closer to the work of Velázquez. The handkerchief she holds in her hand opens up a universe of colour in which the work "Las Meninas", painted by Picasso in 1957 and currently part of the collection of the Picasso Museum in Barcelona, is recreated. In such a way that Valdés places himself before the spectator, as heir to the Spanish artistic tradition and successor to the great painters; Velázquez, Picasso and Valdés. The endless iconographic possibilities offered by Diego Velázquez's canvases are demonstrated in the work in question. As its name suggests, in the series "Queen Mariana as a pretext" Valdés uses the famous painting "Queen Mariana of Austria" (painted by the Sevillian painter between 1652 and 1653) to adapt it to works by avant-garde artists: Miró, Malevich, Klee and Braque, among others, make this series a true declaration of intent by the Valencian artist, vindicating the role of the great traditional and modern painters in the evolution of the history of art.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal of the International Festival of Fine Arts, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
SANTIAGO RUSIÑOL (Barcelona, 1861 - Aranjuez, Madrid, 1931)."Landscape.Oil on canvas.Signed in the lower right corner.Restorations visible on the back.Measurements: 54,5 x 67 cm; 69 x 82 cm (frame).A dirt road goes into the landscape until it gets lost behind a dense grove. Sienas and earthy colours cover the plain and form a symmetry in dialogue with the limpid sky mottled with mauves in the sunset. Dark foliage and the emerald green of the trees border the terrain. The composition has been masterfully studied to achieve effects of calm and stillness.A painter, writer and playwright, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a subject that would define his later style. In 1890 he returned to Paris with Casas and Utrillo. In 1893 he left his studio in Montmartre and moved to the Ile Saint-Louis, where he focused on the psychological study of the figure. On his return he exhibited at the Sala Parés. That same year he inaugurated the Cau Ferrat in Sitges. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appeared in his literary work. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a one-man show held in 1899, brought Rusiñol international recognition, and his success was based on a new vision of Spain, totally free of clichés and full of truthfulness. In 1908 he was awarded the medal at the National Exhibition of Fine Arts.
VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Twilight".Oil on canvas.Signed in the lower left corner.Work exhibited at the Witcomb Salon in Buenos Aires, 1930. Referenced in the catalogue of the exhibition with n.84.Measurements: 91 x 91 cm; 112 x 112 cm (frame).This is a type of composition that Valentín Zubiaurre used repeatedly, and which here manages to express a genuine feeling: with the members of a family in the foreground (in this case, a grandmother and her grandchildren) and the Basque landscape opening up behind them, with fields, farmhouses and rocky outlines. In the self-absorbed faces, the contrast between the smoothness of the young faces and the aged skin of the old woman stands out. The ochre and sienna tones dominate the whole, lending the painting a melancholy patina. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, with the development of an art with a Romantic, costumbrista and realist heritage, which focused on depicting subjects and characters that reflected a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937)."Mimosas through the greenhouse".Oil on paper and board.Signed in the lower part. Signed and titled on the back.Size: 50 x 70 cm; 60 x 80 cm (frame).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 personal exhibitions in 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.
JOSEP ARMET PORTANELL (Barcelona, 1843 - 1911)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 100 cm; 84,5 x 124 cm (frame).An outstanding painter and lithographer, Armet cultivated landscape, genre, portrait and decorative painting. He began his training at the La Lonja School of Fine Arts in Barcelona, where his teacher was Ramón Martí Alsina. In the early 1960s he moved to Rome to further his studies, where he became friends with Mariano Fortuny. He submitted works to national and local exhibitions and was awarded an honourable mention at the National Exhibition of 1864 and a third medal at the 1866 edition. He also exhibited regularly at the Sala Parés in Barcelona from 1877 onwards. In 1872 he was awarded a prize at the Official Exhibition in Le Havre, France, and in 1878 he took part in the Universal Exhibition in Paris. In the field of lithography, in 1866 he produced a series entitled "La juventud pintada por sí misma" ("Youth Painted by Itself") along the lines of Eusebio Planas, the publication of which was banned. As a decorator, the paintings he produced for the Café del Liceu in Barcelona are particularly noteworthy. At first his language followed the style of the Olot School, a town to which he had moved in 1870 to escape the yellow fever, together with the painters Urgell, Caba and others, actively collaborating with his colleagues in the consolidation of the Centro Artístico Olotino (Olot Artistic Centre). For his landscapes he took sketches from life, which he then transferred to oil, sifting them with artificial light. His style during these years is part of Catalan realist landscape painting, with appreciable Roman influences in his technical preciosity. However, during his last years his style evolved along lines that were linked to the work of Ramon Casas and the first Picasso. He turned his gaze towards contemporary street themes, featuring ordinary people, and his brushstrokes acquired a greater looseness and gestural sense. Josep Armet is represented in the Museo del Prado and the Museo Provincial de Girona, among other public and private collections.
Army & Navy Stores officers First Aid Kit belonging to Lieutenant Colonel TR Ubsdell who served in both the Boer War & WW1. Late 19th or early 20th century Leather covered Army & Navy Stores 105 Victoria Street, London S.W. officers First Aid Kit embossed on the lid with the officers name: T.R. UBSDELL. Containg various pills and potions in two layers of trays, some of which are in their original containers. Width 21cms (8.25ins) by 14cms (5.5ins) by 6cms (2.375ins) high. Auctioneers note: Thurlow Richardson Ubsdell was born 31st December 1872 in New York, his mother Genevieve was an American heiress married to an Englishman. He was a graduate of Jesus College Cambridge and when the Boer War broke out he was commissioned from the University Training School as a 2nd Lieutenant in the Royal Field Artillery on the 26th May 1900. He subsequently served in South Africa and was awarded the Queens South Africa Medal with Cape Colony, Orange Free State, Transvaal and South Africa 01 clasps. He remained with the RFA, was promoted to Captain and retired on 23rd August 1912. At the outbreak of WW1 he re-enlisted with the RFA on 26th August 1914, he was twice Mentioned in Despatches (1914 & 1917) and was awarded the Distinguished Service Order in 1917. He was promoted to Temporary Lieutenant Colonel and finally resigned his commission on 28th July 1920. He died on 23rd February 1955 in Milton, HampshireCondition Report: Remains of a leather strap to the sides of the kit. Marks and scratches to the leather
A mounted WW2 medal group consisting of 1939/45 Star, Africa Star with 8th Army clasp, Italy Star, Defence Medal, War Medal with MiD oak leaf, together with a mounted set of dress miniature medals, 12 various WW2 photographs and the remains of medal posting box addressed to Mr. Knowles of Wolverhampton
The Medal of the Legion of Honour, the obverse with profile of Napoleon, the Emperor of the French, the reverse an Eagle, Second Empire Period, 6cms high.Condition ReportThere are minor chips/ losses to the tips of almost all enamel star points and losses to the green inset decoration to the leaves, otherwise good overall condition.
A court mounted Royal Artillery medal group of eight, consisting of from left to right: General Service Medal with Northern Ireland clasp named to 25008555 GNR K ROBERTS RA, United Nations Cyprus Medal, Iraq Medal Operation Telic named to BDR K ROBERTS RA, Operational Service Medal with Afghanistan clasp named to BDR K ROBERTS RA, Golden Jubilee Medal, Diamond Jubilee Medal, Accumulated Campaign Service Medal 2011 version named to SSGT K ROBERTS RA and Long Service & Good Conduct Medal with Regular Army clasp named to SSGT K ROBERTS RA
EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047519.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures worked in various levels of relief, some of them even approaching the round figure. It is a representation of a group of nymphs and fauns, embracing and playing, their bodies confused by Arnau's soft modernist forms.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a disciple of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own studio in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the 1888 Barcelona Universal Exhibition, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.
EUSEBI ARNAU MASCORT (Barcelona, 1864 - 1933).Modernist chimney breast.Polychrome stucco.Provenance: Josep Puig i Cadafalch's house, Carrer Provença in Barcelona.Measurements: 110 x 24 x 30 cm.May form a set with lot 35047518.Lateral finial made by Eusebi Arnau for the Barcelona house of the architect Josep Puig i Cadafalch (1867-1956). It is a vertical relief with a flat base, entirely covered with figures and other motifs worked in various levels of relief, some of them even approaching the rounded bulk. It depicts a medieval princess being pursued by a dragon that appears crawling in the lower area, under the body of which the skull of one of its victims is visible. Between the two figures is that of a knight in armour and helmet, wielding a sharp sword with which he threatens the monster.The sculptor Eusebi Arnau trained at the Barcelona School of Fine Arts and was a pupil of José Gamot. From 1887 he continued his studies in Rome, thanks to a scholarship from the La Lonja School. He later furthered his training at the Académie Julian in Paris, exhibiting his works at the Salon in the French capital in 1895 and 1902. He later opened his own workshop in Barcelona, where he had pupils such as Pablo Gargallo and Josep Dunyach. Arnau carried out numerous commissions, such as the altarpiece for the basilica church of Santa Engracia in Saragossa, where he worked with Josep Llimona. On the other hand, his sculptures applied to architecture made him stand out as a modernist sculptor. Some examples are those made for the Lleó Morera and Amatller houses, the Hotel España, the Palau de la Música Catalana and the Hospital de Sant Pau, all in Barcelona. He was also a regular collaborator of the architect Enric Sagnier Villavecchia, with whom he worked on the Customs building at the Port of Barcelona, the Casa Ruper Garriga, the Via Crucis of Montserrat, the Expiatory Temple of the Sacred Heart, the parish church of the Sacred Heart in Poblenou, the Caixa de Pensions agency in Reus and other projects. He also excelled as a medallist, producing, among others, the medal for the Universal Exhibition of Barcelona in 1888, the Catalan Solidarity medal, the Columbus Centenary medal and the medal commemorating the demolition of Barcelona's city walls. Throughout his life, Arnau took part in numerous exhibitions both in Spain and in Chicago, Mexico City and Paris. He was awarded a bronze medal at the Universal Exhibition in Barcelona in 1888, an honorary diploma at the Fine Arts Exhibition in the same city in 1891, and a prize at the 1896 Exhibition; an honourable mention for sculpture at the National Exhibition in Madrid in 1899, a first-class medal for decorative arts at the National Exhibition in 1908, a gold medal from the Artistic Circle of Barcelona at the International Art Exhibition in 1911, and a third-class medal at the National Exhibition in 1912. Today we can find public monuments by Arnau in Barcelona, Madrid and Villafranca, and other works by him in Barcelona, Comillas and Zaragoza. He is also represented in the National Art Museum of Catalonia.
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