ELISEO MEIFRÉN (Barcelona, 1857 - 1940)."Landscape.Oil on panel.Signed in the lower right corner.Size: 27 x 18 cm; 57 x 47 cm (frame).In this composition, Meifrén's brushstroke achieves freedom and boldness by abstracting the pure impression of a landscape scene. It is probably a late painting, from a mature period when Meifrén had already fully assumed his characteristic technique of loose brushstrokes and vibrant palette, which here almost verges on abstraction. Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the Barcelona School of Fine Arts, where he was a pupil of Antonio Caba and Ramón Martí Alsina, with whom he began to produce romantic landscapes of academic style. After completing his studies in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he became acquainted at first hand with "plen air" painting, which was to have a powerful influence on his Parisian landscapes of those years. It was also in Paris that he coincided with the public debut of Impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome, where he came into contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he took part in the Regional Exhibition in Valencia, where he won a gold medal. Back in Barcelona in 1880, he made his individual debut in 1880 at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. During these years he was a member of the Modernist group and frequented Els Quatre Gats. In 1883 he returned to Paris, where he produced numerous drawings and watercolours with views of the city and its cafés, which earned him a warm reception from the French critics and public. In the late 1980s he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centre de Aquarelistes. In 1888 he was also a member of the jury for the Universal Exhibition held in Barcelona. In 1890 he returned to the French capital for the third time, where he took part in the Salon des Beaux-Arts and the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group the previous year. In the following years Meifrèn submitted his works to numerous official exhibitions and competitions, including the National Exhibitions of Madrid and Barcelona, and was awarded third medals at the Paris Universal Exhibitions of 1889 and 1899, a silver medal at the Brussels Universal Exhibition of 1910, a grand prize at the Buenos Aires Universal Exhibition of the same year, a medal of honour at the San Francisco International Exhibition of 1915 and a grand prize at the San Diego Exhibition the following year. He also won the Nonell Prize in Barcelona in 1935. In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palau de la Virreina. His early landscapes, characterised by an academic and romantic concept, later evolved towards an impressionist language. He is currently represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
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GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Venice".Oil on canvas.Attached certificate issued by Dr. Gerardo Pérez Calero.It has faults in the exterior lateral areas.Signed in the lower left corner.Measurements: 58 x 70 cm.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years 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, including 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.
GUILLERMO GÓMEZ GIL (Malaga, 1862 - Cadiz, 1942)"Marina".Oil on canvas.Signed in the lower left corner.Measurements: 60 x 100 cm.Gómez Gil began his training in Malaga, where he had Emilio Ocón y Rivas as his first teacher, to later continue his studies as a disciple of Federico Ferrándiz and Antonio Muñoz Degrain. He specialised in landscape painting, particularly marine landscapes, paying particular attention to lighting effects. In 1892 he submitted six landscape paintings to the National Exhibition of Fine Arts in Madrid, three of them of the port of Malaga and two entitled "Una borrasca" ("A Squall") and "Efecto de sol" ("Effect of the Sun"). He won a third medal with marine themes at the National Exhibition of 1897 with an oil painting entitled "Efecto de luna" ("Moon Effect"). In 1901 he won a second medal with a work of the same title, and repeated the award in 1906 with "Marina" and "Playas de Málaga". In 1910 he became a teacher at the Seville School of Arts and Industries and spent long periods in Cadiz. A painter of refined technique and great sensitivity, he left for posterity numerous seascapes which are models in their genre, especially outstanding in the depiction of the reflection of the sun and moon on the surface of the sea. Guillermo Gómez Gil is represented in the Museo del Prado, the Carmen Thyssen-Bornemisza Collection, the Museo del Patrimonio Municipal de Málaga, the Museo de Bellas Artes de Sevilla, the Diputación Provincial de Zamora and the Museo de San Telmo in San Sebastián.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Bar scene".Oil crayon on paper.Signed in the lower right corner.Size: 25 x 20 cm; 48 x 42 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Familia. 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 home town at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).In the scene proposed by Opisso, the author uses humour and caricature as he often does. With a forced point of view, from the lower, swooping area, Opisso portrays in the foreground a marine's attempt to kiss a beautiful woman. The positions of their bodies create diagonal lines, some of them opposing each other, especially if we look at the couple's legs. While the sailor aggressively approaches the woman, she is cornered at the right edge of the work, being subjected to his kiss. Meanwhile, in the background, the sailor's companions are also enjoying the effervescent atmosphere of the place.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Portrait of a lady.Oil on canvas.With restorations.Signed in the lower right area.Measurements: 89 x 70 cm.Portrait of a lady with a long bust, the work follows the precepts established by the genre of the portrait during all the history of art; the neutral background that monumentalizes the figure, the position in the foreground and the strict frontality among other characteristics. However, it is worth noting the pose of the sitter, who is shown before the viewer with her arms crossed, clasping her hands and leaning slightly to one side, which shows how tired she is from hours of posing before the artist and leaves the viewer with an anecdotal element that describes the sitter's personality. Palmaroli was a vigorous portraitist who knew how to delve deeply into the psychology of the sitter and recreate the minute details of her clothing. With a virtuoso brushstroke, he expressed the plasticity of the clothes and the brilliance of the adolescent flesh tones in a veristic language. The son of an Italian lithographer, Palmaroli entered the School of Fine Arts at the San Fernando Academy in Madrid in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetic of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Rome Academy. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
BLACK AND TAN MEDAL WITH COMRAC BAR - GEORGE DOWDALL F.COY 2ND BATT I.R.A 1918-1922 IN ORIGINAL BOX. 13 ST PATRICKS TERRACE, RUSSELL STREET, OFF NORTH CIRCULAR ROAD. HE WAS A MEMBER OF THE ABOVE COMPANY AND LATER TRANSFERRED TO A COMPANY IN DECEMBER 1920. George joined F Coy in late 1917. His Volunteer activities interfered with his employment as a chemist’s apprentice with Hayes, Cunningham & Robinson’s. It also meant he had to give up his pharmacy studies. He became an acting Lieutenant and Red Cross Instructor with 2nd Battalion before a transfer to A Coy as Adjutant at Sergeant Major rank at the end of 1920. After his Custom House arrest he lost his job. With the National Army he served as a Lieutenant then Captain under the command of Ned Broy in the Air Service at Baldonnel Aerodrome.In 1925 he was awarded a Military Service Pension based on 7 years service (Military Archives file 24SP4710).During The Emergency, George applied for a Disability Pension on the grounds of an unspecified illness contracted in Kilmainham. He claimed the British brought him to KGV Military Hospital for an operation which he refused. He was taken back to the Gaol but his condition worsened. This led to his release on parole after a strong protest by his comrades. With the approval of Dublin Brigade he was admitted to the Mater Hospital for urgent surgery. He had two further relapses, both requiring operations.Although his health had deteriorated so badly by the 1940s as to leave him unable to work, his application was turned down since it had not been made within the allowed timescale. His chemist supply business was also badly affected by the wartime economic situation.In later years George Dowdall was a trustee of the 2nd Battalion Association, Old IRA for many years and was also a member of the Custom House Memorial Committee. Sadly he did not live to see the Memorial installed.
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