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Click here to subscribeSport Usain Bolt signed 10 x 8 colour landscape photo with his gold Medal and yellow track suit. 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
Bag containing quantity of wrist watches, some silver, together with box containing further wrist watch and Albert chain with silver marks, together with 1914/18 medal awarded to Pte Platford, Suffolk Regt with ribbon, plus a Great War medal awarded to Pte H Platford No 45813, plus a military watch by Helvetia (qty)
Thomas Herbert Maguire (British, 1821-1895), General Alfred Huyshe, CB, oil on canvas, signed, 48in (122cm) x 36in (91.5cm), framed. Note: General Alfred Huyshe, CB, 1811-1880. The 4th son of John and Millborough Ann Huyshe, served in Honourable East India Company's service, commissioned as 2nd Lieutenant on 13th December 1827 into the Bengal Artillery. General Alfred Huyshe served in India as a Brigade Major of Artillery during the Gwalior campaign 1843-44, including the battle of Maharajpore. He Commanded a Troop of Horse Artillery throughout the Punjaub campaign of 1848-49, including the battles of Sadoolapore, Chillianwallah, and Goojerat, twice mentioned in despatches, Brevet of Major. The portrait shows General Alfred Huyshe in dress uniform, wearing a group of three medals: Gwalior Star, Punjab medal with two clasps, and Indian Mutiny medal, together with the Companion of the Order of the Bath (CB). A book by Alfred Huyshe, Instructions and Regulations for the Exercise and Movements of the Bengal Horse Artillery, was published in 1844.
shaped oval, one side with a portrait bust of a young man in a high collared shirt with epaulettes and with a medal, the other side lobed, the hinged cover reeded and incised with lines75mm highThere are no marks on the silver mounts. There is some overall surface scratching and some very minor chips to the glass, particularly along the bottom edge where the bottle rests. With detachable stopper.
circular, the front stamped with a foliage border, the back later engraved with an inscription, with foliage mantling and suspension loop, in red leather covered casethe case 7cm wide, the medal 30mm, gross weight 5dwt, 8grThe inscription reads 'Presented by Bradford Dolphins to Noel Tillotson The First Bradford Swimmer to Swim 100 Yards Under One Minute Windsor Baths May 4th 1946'.Fully marked on back. Further stamped with design registration number 'Rd725243'. The suspension ring part marked. The marks are generally clear. There is some surface scratching and wear, consistent with age and use. There are some scruffs and soiling to the leather case. The gross weight includes the enamel.
2007 Queen Diamond Wedding crown in carded sleeve, Queen Elizabeth Coronation Jubilee coin presentation pack, one wooden display case with five commemorative large coins First World War 1914-1918, plus various crowns including Harrods Official souvenir medal, plus a bag of USA 5 cent and 1 cent coins
A mid-19th century French oil on canvas picture clockMaison Wurtel numbered 901, the movement supplied by Japy filsThe giltwood frame with floral garland corners and deep box to the back, hinged along the top edge and opening to reveal the movement. The painting depicting an Alpine village with frolicking children and a fantasy castle, the largest turret of which carries the white enamel dial with Roman chapter ring and black Breguet-style moon hands, within a decorated brass bezel. The movement with outside countwheel striking the hours and halves on a wire gong, with Brocot suspension and delicate anchor escapement, the back plate bearing the Silver Medal seal for Japy fils for 1844 and 1849, the front plate engraved 901 WURTEL (first letter obscured) ART D'HORLOGERI PARIS. GIE VIVIENNE38 9 2. Previously with separate musical movement, now removed. Ticking with numbered pendulum, numbered 1167. 85cms (33 ins) highFootnotes:Guillaume-Ferdinand Wurtel was born in 1807, his date of death is thought to be circa 1858. In 1837 he advertised as working at 38-40 Passage Vivienne in Paris, the address he seemed to occupy for his entire career. Three years later, in 1840, he was listed in a trade almanac as a horological maker and seller offering picture clocks as well a supplier of concave glasses. In 1841 a magazine La Presse recommended La Maison Wurtel to their readers, informing them that they can buy watches, table clocks, picture clocks, music boxes, alarm clocks, and 'objects of fantasy' (trans.), all from Wurtel's shop. In 1856 he exhibited at the 'Exposition of M. Delépine (the younger) of Paris', exhibiting wares of mainly novelties; wind-up toys for children and dolls which could say 'Maman' and 'Papa'. For public enjoyment, and no doubt to attract customers, he hired a rope dancer to perform near his stall. Unfortunately, his stall was placed in the 'Scientific' section, and apparently the majority of people were rather baffled by the whole display.For further information on this lot please visit Bonhams.com
A rare late 19th century French neo-Gothic oak table clock with calendarMathieu Planchon, Palais Royal, Paris, movement numbered 2883Surmounted by a crowing cockerel over a scroll frame housing the large bell and horizontal hammer, (with static Jack to one side), enclosed by cruciform brass strips 'rivetted' onto the carcass and twin side doors with bullseye glass and creature handles, the rear door with quatrefoil sound fret, raised on bifurcated scroll feet. The dial is divided with another 'rivetted' brass strip; above, the signed Roman chapter ring with sun centre and beetle and poker hands, the stylised Arabic calendar ring with arrow hand and clouded sun centre. The movement comprised of an upper clock movement with twin spring barrels, Brocot suspension, and an anchor escapement with outside count wheel, the back plate stamped 2883 Planchon Palais-Royal; the lower calendar movement with ratchet driven calendar wheel connected via a lever to the clock movement, and stamped with 775. The rear door carries a stamp depicting a clock and two pocketwatches within a shield, along with the number 3 595. The pendulum is stamped 2883·772. Ticking and striking, together with a a winding key. 27.5 x 26 x 60.5Footnotes:Mathieu Planchon was born in 1842 in Bourges, and served as apprentice to his father, one of the city's clockmakers, until 1862. By 1865/66, he had moved to Paris and was employed at Robert-Houdin's workshop: Robert-Houdin was a horologist and one of the most famous illusionists of all time; it seems likely that Planchon would have worked with Houdin's son, Emile Robert-Houdin who took over running the workshop after his father's retirement in 1855. After about two years he moved to work with a G. Phillippe in the Palais Royal, before taking over the business around 1870. Planchon had a strong interest in the antiquarian side of horology, and by 1896 was being described in the Horological Journal as 'the un-disputed authority in the horology of all countries, and, above all, on that belonging to the Middle Ages'. The 'Figaro' newspaper ran a competition in 1874, soliciting ideas for a watch it could give to its subscribers. Planchon entered and won with an apparently novel case design ....UNFORTUANTLEY THE DESIGN REMAINS UNKNOWN....; 22,000 of the watches were produced and Planchon became a well-known horological figure. He spent the next 15 years assembling a large collection of ancient timepieces, as well as making replicas of antique and middle ages clocks, but with modern, 19th century movements. He did not seem to regard these clocks as copies, but updates to otherwise fine clocks. By 1889, he had assembled enough to be able to exhibit at the Great Exhibition in Paris; he had a large variety of reproduction antique clocks, 75 in all, including clepsydrae and 15th century mantel clocks. He won a gold medal for this exhibition. In 1895, he relocated from the declining Palais Royal to the crossroads of Rue de la Chaussée d'Antin and the Rue Meyerbeer. He continued with his antiquarian pursuits, making, amongst other pieces, a clock in the shape of a fan, which would open to reveal the hours, before snapping shut at 6 'o' clock, which was based on a similar clock in a 16th century engraving he owned. He also extensively studied, and described, both traditional Japanese and Chinese clocks and time-keeping systems; he was the first European to publish a serious horological analysis of these timepieces. In the 1900 Paris Exhibition, Planchon not only won a Grand Prix, he was also allowed to write the official description for the horology section. This same year, in light of his accomplishments at the 1900 Exhibition, and his comprehensive book on the history of horology, L'horloge son histoire rétrospective, pittoresque et artistique published two years previously, he was made a member of the British Horological Institute. He would continue to practice horology and publish various related monographs, until his death in 1921, a few months after his latest work, La Pendule de Paris. Son évolution décorative was published. Paul Brateau, Planchon's son-in-law, employee for the past 21 years, and similarly enthusiastic antiquarian horologist, assumed control of La Maison Planchon, which he relocated to the Rue Meyerbeer proper in 1930, before his retirement, and the final closure of the shop in 1936. A very similar clock, with moon phase instead of a calendar dial and numbered 5885, was sold by Bonhams London in September 2009.Robertson, J. D. (1922) 'Mathieu Planchon', The Horological Journal, Vol. 64 (8), pp. 147-148. (Accessed: 18 May 2022)Bijou (1896) 'French Notes. From Our Special Correspondent.', The Horological Journal, Vol. 38 (9), p. 122. (Accessed: 18 May 2022)W.E.N. (1889) 'Further Notes of a Leisurely Saunter through the Horological Section of the Paris Exhibition',The Horological Journal, Vol. 32 (1), p. 6. (Accessed: 18 May 2022)Collanges, F. (2013) 'Third Lecture', Antiquarian Horology, Vol. 34 (2), pp. 259-261. (Accessed: 19 May 2022)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare second quarter of the 19th century French Rococo-style bell-striking Carriage clock alarm and push repeatPaul Garnier, Paris, number 1029. The gilt brass case with handle formed of two crouching mythical beasts perched above the large escapement inspection window, the case top with floral and shield casting supported by four decorative pillars cast with shields, strapwork and fish, the solid rear door with named sliding dust covers, supported on a shield- and floral- cast base on shaped feet. The 2 inch white enamel Roman dial with subsidiary Arabic alarm and blued steel trefoil hands, signed in blue Paul Garnier Her Du Roi Paris. The movement with three spring barrels and silvered English lever platform escapement with cut and compensated bimetallic balance complete with timing screws and blued steel regulation lever, striking the hour and half-hours, with hour repeat, signed and numbered on the back of the frontplate. Ticking, striking, repeating, and functioning alarm. Together with a travel case and winding key, the latter fitting into a formed recess in the bottom of the case. 17.5cms (7ins) high.Footnotes:Paul Garnier (né Jean-Paul) was born in 1801 in Épinal, France, moving first to Luxeuil to carry out a watchmaking apprenticeship, and then to Paris in 1820 to join Lépine's workshops, before finally establishing his own business in 1825. In the 1827 Exhibition he exhibited an astronomical clock and mantel regulators, which won him a silver medal (he would win silver medals again at both the 1834 and 1839 Exhibitions, before attaining gold in 1844). From 1830 Garnier began to make affordable, semi-massed produced carriage clocks (pendules de voyage) which can be said to have established the Parisian carriage clock industry. At around the same time he wrote to Antide Janvier asking for permission to use the title 'Elève de Janvier' as he had attended the free Horological school Janvier had established in 1802. Janvier assented to his request, and Garnier used the title on his carriage clocks until about 1835, and in his written correspondences until at least 1844. Around 1835, Garnier made use of the title 'Horloger [or Her] du Roi', which in turn is supplanted by 'Her De La Marine' after 1848. Signed 'Her du Roi', this clock, was likely made in the second quarter of the century. His combination of basic shape and cost-saving escapement meant that pendules de voyage, having previously been too expensive for the vast majority of people, were reduced in cost to the price of a standard mantel clock. As well as being affordable, these clocks were well made, exhibiting very fine diameter pivots (even by French clock standards) and usually with rack striking. Repeating was saved for the more expensive examples, as in the current case. In his early clocks, engine turned dials in a watered silk style with one-piece cases and barrel stopwork were all the norm. Between about 1830 and 1840, it was common to fit a coloured-paper covered block of wood into the base of the hollow casting.In addition to carriage clocks, Garnier presented a novel master clock and slave clock system (1847), and at least one chronometer has been assigned to him. He also pursued scientific instrument making, his obituary being published in the Society for Civil Engineers bulletin in 1869.The clock is stamped on the back of the front plate with 'Paul Garnier Her Du Roi Paris' in the upper left corner, and '1029' in the lower centre.Included with the lot is a clipping from Country Life, 1973 which illustrates and describes this clock.For further reading, see Allix, C. (1993) 'Paul Garnier Revisited', Antiquarian Horology, Vol. 20 (5), pp. 411-425.Arnott, P. (2011) 'Constant Force Chronometer, No. 1 Attributed to Paul Garnier', Antiquarian Horology, Vol. 33 (1), pp. 58-65.British Horological Institute (1890) 'A few Words about M. Paul Garnier's Collection', The Horological Journal, Vol. 33 (3), pp. 33-34For further information on this lot please visit Bonhams.com
A fine and rare late 19th century French grande sonnerie striking carriage clock with minute repeat facility and alarmThe movement numbered 2The cast case with foliate handle over an escapement aperture and repeat button, the corners set with Corinthian columns between the pierced, silvered and glazed sides on a stepped base. The white enamel Arabic dial with fancy pierced hands within a pierced and silvered floral mask above a subsidiary Roman enamel alarm dial with counter balanced blued steel needle hand. The three train movement with silvered jewelled Swiss lever platform escapement, cut and compensated bimetallic balance with stamping on the back plate for hand- and alarm-setting, with a 3 position lever on the base offering a choice of grande sonnerie striking, petite sonnerie striking or silence. Ticking, striking and repeating on two hammers and two gongs, with the alarm ringing and using a separate hammer. Together with a double ended winding key and the original silk-lined leather travel case with signature ribbon for the retailers Baily Banks & Biddle. 16cms (6 ins) highFootnotes:Baily Banks & Biddle was originally founded in Philadelphia as Bailey & Kitchen in 1832. In 1878 it was established as Baily Banks & Biddle and it remained so until the company went into administration in 2019. Jewellers, silversmiths and retailers, the company also designed and made many medals that are still used today, such as the Congressional Medal of Honour and the first 40,000 Purple Hearts.It is interesting to note that the back plate is engraved in English for the hands, alarm, etc. but the regulation for the platform is in French, R(etard) and A(vance). This suggests that the rough movement and escapement were bought from separate suppliers and then assembled to be sold, rather then the complete clock being bought and simply cased.Minute repeating carriage clocks are particularly rare to find on the open market.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
NO RESERVE δ Conway (Stephen, binder).- Myers (Colin) The Book Decorations of Thomas Lowinsky, with a Memoir by Katherine Thirkell and an Annotated Checklist by Oliver Clark, one of 5 specially-bound copies by Stephen Conway signed and dated by the binder, from an edition limited to 250, samples and illustrations, one hand-coloured, many tipped in, bound in black goatskin-backed boards covered with hand-painted paper and edged in green cloth at fore-edge, upper cover with large recessed shaped panel covered in black paper onlaid with a mosaic of examples of Lowinsky's hand-writing, paste-paper endpapers, uncut, with prospectus and binding specification in felt-lined black cloth drop-back box, spine with author's name and "TL" in gilt, small folio (c.335 x 240mm.), Oldham, Incline Press, 2001.⁂ Stephen Conway (b.1958) won the Designer Bookbinders Silver medal in 1998, was elected Fellow of Designer Bookbinders in 2000, and in 2013 served as President. His bindings are housed in private collections and institutions worldwide, including The British Library and The National Library of Scotland.This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A mixed group of gold jewellery, comprising: a 1970s brooch of abstract textured design set with emeralds and diamonds; three signet rings, one inlaid with onyx; two diamond rings; three wedding bands including one of twist design, one of bicoloured design; a curb-link charm bracelet with a heart-shaped padlock clasp; two bangles; a curb link watch chain with swimming club medal dated 1924; a snake chain necklace; a pair of hoop earrings; and a lady's Tudor Royal wristwatch
A collection of costume jewellery comprising a 9ct gold cross and broken chain, weight approx 3gms, gold back and front plated seal pencil, locket, silver jewellery, including silver gilt necklace, brooches with leopard motif set mother of pearl and onyx, silver charm bracelet, chains, stone set earrings, pendants etc, white metal and gilt metal jewellery, vintage paste set brooches, sporting medal, dress watches, brass sovereign case along with Constabulary faithful service medal, commemorative coins and etc (1 bag)
Roy Jones Jnr signed 12x8 colour photo. Roy Levesta Jones Jr. (born January 16, 1969) is an American former professional boxer, commentator, and trainer who holds dual American and Russian citizenship. He competed in boxing from 1989 to 2018, and held multiple world championships in four weight classes, including titles at middleweight, super middleweight, light heavyweight, and heavyweight, and is the only boxer in history to start his professional career at light middleweight and go on to win a heavyweight title. As an amateur, he represented the United States at the 1988 Summer Olympics, winning a silver medal in the light middleweight division after one of the most controversial decisions in boxing history. Good condition Est.
JULIA MINGUILLÓN (Lugo, 1907 - Madrid, 1965).Untitled.Oil on canvas.Signed in the lower left corner.Size: 70 x 50 cm; 84 x 63 cm (frame).Minguillón's work achieved great fame, being his scenes of infants the most popular ones. For this reason this piece stands out for the singularity of the subject matter in which two women can be seen; one fully dressed facing the viewer and the other with her back to the viewer naked. We only see the face of one of the protagonists, in such a way that the author suggests a game of identity that does not speak of specific characters, but rather alludes to women and their duality in post-war Spanish society, marked by strong masculine values.Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. This can be seen in this scene: a circus troupe resting in the middle of a wooded landscape. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. This painter also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.
JULIA MINGUILLÓN IGLESIAS (Lugo, 1907 - Madrid, 1965)."Children at school".Oil on canvas.Presents restorations.Signed in the right inferior zone.Measurements: 60 x 51 cm.Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. This painter also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.
MODEST URGELL INGLADA (Barcelona, 1839 - 1919)."Boat on the Beach".Oil on canvas.Signed in the lower right corner.Size: 60 x 114 cm; 80 x 135 cm (frame).Three small boats rest on the sand, drawing their outlines in front of the dawn sky, of violet tones just before the dawn. This is an oil painting impregnated with lyricism and spiritual silence, in what we might call a painting of restrained sublimity, characteristic of Modest Urgell.Modest Urgell began his career as a theatrical actor, but his family's prohibition against him pursuing 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 moods 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 Girona, Palma de Mallorca and Lugo, among many other centres and institutions.
VENANCIO VALLMITJANA BARBANY (Barcelona, 1826/28 - 1919)."Maternity".Terracotta.Signed on the lower right front part of the base.Measurements: 55 cm high.Brother of the sculptor Agapito Vallmitjana, he began his training with him at the School of Fine Arts of La Lonja in Barcelona, where they were disciples of Damià Campeny. Venancio was awarded the school prize in 1844. Between 1853 and 1854, together with his brother, he made the statues of the Evangelists for the altar of the church of San Justo in Barcelona, which was to be his first major commission. In 1856 Venancio was appointed professor at the La Lonja School, and two years later he was commissioned to create the allegorical figures for the façade of the Bank of Barcelona, a work which until then, for reasons of prestige, had been left to Italian sculptors. His teaching work is particularly noteworthy, as he was the teacher of outstanding sculptors such as Pablo Gargallo. Queen Isabella II visited the brothers' workshop in 1861 and commissioned a portrait of him and a Saint George. Venancio took part alone in the National Exhibition of Fine Arts in Madrid in 1864, and with his brother in the editions of 1867 and 1876. In 1890 he again took part alone and won a first medal. They both travelled to Manchester in 1872 to portray Lord Stanley and his wife, and Venancio later travelled alone to Paris, where his work aroused the interest of the French public. The Vallmitjana brothers were among the best representatives of Catalan sculpture of their time, and their work was characterised by Romantic reminiscences and a marked realist detail. They also stood out for the great naturalism of their work. Agapito favoured a restrained pathos, while Venancio, undoubtedly more brilliant, was characterised by greater spectacularity and a taste for anecdotes. Venancio was the only one of the two who worked with glazed ceramics applied to sculpture. Venancio Vallmitjana is represented in the Lázaro Galdiano Museum, the Army Museum in Madrid, the Gaudí House Museum, as well as public works in Barcelona, Madrid and Valencia.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.It has damages in the frame.Stamp on the back.Signed in the lower right corner.Measurements: 40 x 32,5 cm; 52 x 43,5 cm (frame).In this work the artist depicts a picturesque corner consisting of a vaulted midá or fountain of ablutions, covered on the outside with whitish-blue tiles and situated at the open door of an oratory or mosque. It should be noted that Bilbao spent several years in Morocco, visiting Tangiers and other cities, the result of which is the series he produced at that time in which he evokes the aesthetics of Orientalism.Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
JOAQUÍN MIR TRINXET (Barcelona, 1873 - 1940).Untitled.Oil on panel.Signed in the lower right corner.Size: 25.5 x 32 cm; 46.5 x 53 cm (frame).Joaquim Mir studied at the School of Fine Arts of San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual) to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir presented two works that give us a clear idea of the group's ideals: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). Also, from 1897 he frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde gathered, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. From this period are "Slopes of Montjuic" (1897) and "The Cathedral of the Poor" (1898), the two masterpieces of his youth. 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. From then on the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and 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. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the villages of the surrounding area that were the protagonists of his painting. 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.
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923).Untitled.Oil on panel.Signed in the lower right corner.Size: 16 x 34 cm; 35 x 53 cm (frame).José Navarro Llorens took up painting at a very early age, and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarro's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Museo Carmen Thyssen in Malaga and in the Gerstenmaier collection, among other public and private collections.
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