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Lot 58
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition in reds and yellows".Oil on canvas.Signed in the lower right corner.Measurements: 75 x 150 cm.After beginning his studies in Barcelona, at the end of the Civil War Viola went into exile in France, where he began to exhibit his works in the exhibitions of the so-called Spanish School of Paris. He returned to Spain in 1949, and in 1958 his truly personal style began, while he joined the avant-garde pictorial group El Paso, which included Saura, Canogar, Feito and Millares, among others. He begins to express himself through an abstract painting of great expressionist character and great care for color. He definitively left behind the figuration that prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) or the Gold Medal of the City of Zaragoza. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, Sao Paulo and Houston. Manuel Viola's work can be seen in the Reina Sofia Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Lot 3061
to include a Hardy Marquis #7 trout fly reel, a BFR Rimfly 75 trout fly reel, a Penn gold medal No1 trout fly reel, a Leeda Mayfly #7/8 reel and spool along with a further Leeda Mayfly #7/8 reel and spool, a Sage RPL 9'-6" #7 trout fly rod, various flies, fly boxes and accessories, Wychwood chest waders and boots and a fly tying box with tools and materials. (Q)
Lot 243
A heavy early 20th century graduated curb link Albert chain necklace, with silver medal fob, dog-clip and 2 T-bars, hallmarks Birmingham 1902, chain length 32cm, 108.65gNo damage, general wear all over with light abrasions, 1 end link is a spring-bar clasp, every curb link hallmarked, slightly rubbed
Lot 706
Limited edition WW2 RAF DM11, Multiple signed Award of the Aircrew Europe Star A4 size cover, with copy of the medal printed on silk, fixed to the cover. Flown and signed by Group Captain James Brian Tait, Air Chief Marshall Sir Frederick Rosier, Group Captain Hamish Mahaddie, Air Marshall Sir John Lapsley, Air Chief Marshall Sir Wallace Kyle, Air Vice Marshall Harold Arthur Cooper Bird Wilson and Marshall of the Royal Air Force Sir Michael Beetham. Flown from the Royal Air Force Musuem in Gazelle MK3 XW 852 of no. 32 Squadron RAF Northolt to Westminster Hall, the location of the 18986 Commonwealth Parliamentary Conference by Sqn. Ldr W.B.C Ritchie, who has also signed this beautiful cover. Post marked Jersey, 1st June 1986. Inside you will find information sheets and photographs of the selected holders if the Air Crew Europe Star medal.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 692
11 Se 90 Gallantry Full Set signed by 15 involved in WW11, VC, GC Holders Battle of Britain Ervine Andrews VC, B Reid VC, E Wilson VC, R Learoyd VC all Victoria Cross Holder K Farrow GC, C Walker GC, G Stevens GC, all George Cross Holders, Elizabeth Mortimer MM, C Comeau MM, Military Medal, Dennis David, Bob Doe, F Carey All Battle of Britain. Sqn Ldr Lewis Brandon, Pat Kingsmill and A W F Sutton DSC RN.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 79
Olympics, Linford Christie signed Medal Heroes Commemorative Cover post marked 1st October 2010, London. Christie is a Jamaican born British former sprinter. He is the only British man to have won gold medals in the 100 metres at all four major competitions open to British athletes: the Olympic Games, the World Championships, the European Championships and the Commonwealth Games.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 699
50th Anniv. USA fighter aircraft Signed Col George Day Pilot, USA WW11, Vietnam PoW. 18 09 97 Grosvenor square 50th Anniv. of the United States Air Force fighter aircraft. Flown in North American P 51d Mustang Personally Signed by Colonel George Day USAF Congressional Medal of Honour. he dropped out of Central High School and enlisted in the United States Marine Corps. He served 30 months in the North Pacific during World War II as a member of a 5 in (130 mm) gun battery with the 3rd Défense Battalion on Johnston Island. Later became a Pilot. Now retired U. S. Air Force Colonel and Command Pilot who served during the Vietnam War, to include five years and seven months as a Prisoner of War in North Vietnam. He is often cited as being the most decorated U. S. service Member since General Douglas MacArthur, having received some seventy decorations, a majority for actions in combat. Day is a recipient of the Medal of Honor and the Air Force Cross. Certified Copy No126 of 250.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 685
WW1. Royal Engineer Frank Boynton s Personal WW1 Medals. British War Medal 1914 1920 and The Allied Victory Medal 1914 1919. Original and authentic medals. Included is a photocopy of Boynton s Records. Unusual.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 159
* China. Darrell (Sir Harry), Taking of the Island of Chusan by the British, July 5th 1840, Day & Son, 1852, tint stone lithograph after a drawing by Sir Harry Darell, 325 x 460 mm, mountedQty: (1)Footnote: Uncommon. Published in 'China India Cape of Good Hope and Vicinity a Series of Thirteen Treble-Tinted Views'. Plate no. 2. ‘Sir Harry Darell served with the 18th Royal Irish on the China Expedition, as aide-de-camp to Brigadier-General Burrell, and was present at the first taking of Chusan (medal). He served also with the 7th Dragoon Guards against the insurgent Boers in South Africa in 1845; also during the whole of the Kaffir war of 1846-7, and commanded the squadron of his regiment at the Gwanga, on the 8th June 1846, and received two severe wounds in the charge and his charger wounded in five places’ (The New Army List, No. XLI, 1849, p. 27 n. 3).
Lot 281
* Grant of Arms. Manuscript grant of arms for Sir Robert Alderson Wright, Baron Wright of Durley in the County of Wilts, 1932, illuminated manuscript on single vellum membrane, with four armorial bearings including that of Sir Robert Alderson Wright with motto 'Mens aequa', Earl Marshal, George V, & College of Arms, each finely painted in bodycolour and heightened with gold, blue double-rule border, signed by Gerald W. Wollaston as Garter King of Arms, navy silk tag with seal in brass skippet attached, membrane approximately 37.5 x 53cm, contained in original maroon cloth-covered box with hinged lid and with applied GR monograms & crowns, together with a University of Toronto Doctor of Law certificate on vellum awarded to Robert Alderson Wright, 17th September, 1943, plus an Honorary Freeman of the County Borough of South Shields illuminated address on vellum awarded to Baron Wright of Durley, 4th January 1950, 46 x 18.7cm, plus three related photographs and memorial order of service for the Right Honourable Lord Wright, G.C.M.G., A former Treasurer of the Honorable Society of the Inner Temple, Wednesday, July 22nd, 1964, and with a mahogany presentation box with hinged lid bearing an engraved metal plaque ' The Honorary Freedom of the County Borough of South Shiellds conferred upon Lord Wright of Durley, P.C., G.C.M.G. 4th January, 1950', front of box bearing 'W' monogram with Baron coronet above, enamelled armorial to lid, box with cast metal column corner supports, on wooden base, dimensions approximately 28 x 18 x 17cm (width x depth x height), and anaward medal 'presented by the Mayor of the city of New York Honorable James J. Walker in commemoration of the Mayor's Reception to the Foreign Bench and Bar Aldermanic Chammbber, City Hall, September 4th 1930, ribbon and clasp attached, contained in original cardboard boxQty: (small carton)
Lot 479
Military. A large collection of modern military, uniform & medal reference & related, including Field Uniforms of German's Panzer Elite, by Robert J. Edwards Jr. & Michael H. Pruett, 1st edition, Manitoba: J. J. Fedorowicz Publishing, 1998, large 8vo, together with: Danger Forward, the story of the First Division in World War II..., by H. R. Knickerbocker et al, 2nd edition, Nasville: The Battery Press, 2002, 8vo, The Magic of a Name, The Rolls-Royce Story the first 40 years, 3 volumes, by Peter Pugh, 1st edition, London: Icon Books, 2000, 8vo, The Ardennes 1944-1945, Hitler's Winter Offensive, by Christer Bergström, 1st edition, Oxford: Casemate UK, 2014, large 8vo, & publications by Osprey Military, Greenville Books, PSL, Schiffer Military History, Pen & Sword, many original cloth in dust jackets, some paperbacks, some German language, G/VG, 8vo/4toQty: (6 shelves )
Lot 1011
A Holborn Restaurant Medal, presented 1896, to/w an Arnold Lunn Medal, presented by the Kandahar Ski Club; Italian silver gilt Winter Sports medallion, obverse struck with profile of Mussolini to/w a quantity of military and other badges, medallions, Dupont cigarette lighter, Dunlop advertising bottle opener, etc
Lot 1016
Masonic - Buffaloes silver gilt and enamel jewel and a silver and enamel jewel - O'Dwyer Lodge, London 1930/Birmingham 1929 to/w a silver Motor Cycling Club Medal Birmingham 1927, a silver cream jug (TooGoods Seeds Prize) Birmingham 1904 and various Victorian and later silver threepencesInscription - London - Land's End 1928 M C STOCKER SOLO
Lot 1518
A pair of copper plated barley twist candlesticks, height 20cm, with a pair of brass plated Corinthian column style candlesticks, with assorted collectors' items including an advertising Cobra, polishes, folding rule, miniature copper haystack jug, silver plated fancy link Albert chain, cast Catholic school medal, etc.
Lot 1876A
A collection of ephemera relating to MD/X 3079 Signalman Harry Ramsbottom of Salford, Mersey Port Division, together with a George V issue Naval Volunteer Reserve Long Service and Good Conduct Medal. Mr Ramsbottom is believed to be a recipient of this medal but a George VI issue not a George V issue. This medal has been married to the ephemera.
Lot 2352
A Chinese white metal novelty watering can with chased decoration of birds and prunus flowers, indistinct marks to the handle, height 3.5cm, with a hallmarked silver inkwell, cased set of six teaspoons and a Masonic medal St John's Masonic Lodge, stamped silver, weighable 3.34ozt/103g.Additional InformationTarnishing and wear, the inkwell is heavily dented. The novelty watering can is marked although very faintly. The box for the spoons looks to be a replacement.
Lot 10
JULIO BORRELL PLA (Barcelona, 1877 - 1957)."Young man eating an apple".Oil on canvas.Signed in the upper left corner.Measurements: 69 x 47 cm; 77 x 55 cm (frame).A young woman represented in three quarters is captured in the act of biting an apple while looking mischievously at the viewer, conveying a casual and instantaneous image.Son and disciple of Pere Borrell del Caso, Julio Borrell was trained at the School of Fine Arts of Sant Jordi in Barcelona. From his father he was influenced by the Nazarenes Claudio Lorenzale and Pablo Milà i Fontanals. In 1888, at the age of eleven, he participated with a canvas in the Barcelona competition of the Universal Exposition, together with his brother Ramón, also a painter. From 1894 he took part in almost all the official exhibitions held in Barcelona and Madrid, being awarded an honorary mention in 1897. That same year he won a second medal at the exhibition in Arcachon, France. His name had a special resonance throughout his exhibitions at the Sala Parés in Barcelona, between 1915 and 1920. His wide production includes both oil and pastel works, and covers a wide range of themes. The theme he most cultivated was that of the classic Spanish maja, the women with mantilla and comb, depicted in his personal sensorial style, with extraordinary skill and great mastery of drawing. Among his many paintings, some of which have been widely reproduced, it is worth mentioning "El viático al Liceo", "Lavapiés en Jueves Santo", "Bodas reales" (Royal Wedding), which he painted for King Alfonso XIII, "Luna de miel" (Honeymoon), "El triunfo del cristianismo" (The Triumph of Christianity), etc. He also dedicated himself to decorative painting, making religious murals for the church of San Francisco in Buenos Aires and the dome of the Basilica de la Merced in Barcelona, destroyed in 1936. Throughout his career, Borrell held numerous solo exhibitions in various Barcelona galleries, and participated in group exhibitions and competitions. Many of his works are exhibited at MACBA, as well as at the National Art Museum of Catalonia and others.
Lot 100
BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Lilies", 1976.Oil on canvas.Attached certificate issued by the Benjamín Palencia Archive.Signed and dated in the lower left corner.Measurements: 54,5 x 46 cm.Founder of the School of Vallecas together with Alberto Sánchez, sculptor, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape typical of the Generation of 98. With only fifteen years Palencia leaves his native town and settles in Madrid to develop his formation through his frequent visits to the Prado Museum, since he always rejected the official teachings of the Royal Academy of Fine Arts of San Fernando. In 1925 he participates in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travels for the first time to Paris. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he would later apply to his work, incorporating new materials such as sand or ashes. It will be from this Parisian stay when Palencia's work acquires a surrealist tone, evidenced in an increasingly greater expressive freedom that will reach its fullness in his period of maturity. On his return to Madrid he founded the Vallecas School (1927), and made his individual debut at the Museum of Modern Art (1928). Palencia will gradually abandon still lifes to take up again the Castilian landscape, capturing it through a magnificent synthesis between tradition and avant-garde. This personal aesthetic of the landscape will reach its culmination in the School of Vallecas and, after a brilliant surrealist incursion in the early thirties, at the outbreak of the Civil War Palencia remains in Madrid, suffering like his peers of his generation a period of deep crisis. After the war, between 1939 and 1940 his painting took a radical turn; he abandoned the cubist and abstract influences and even the surrealist aspects, in search of an art of strong chromatic impact, linked to Fauvism. Focused on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work will gather images of the Castilian countryside and its peasants and animals; his painting becomes a testimony of the rough, the coarse and the rural, of the subtle expressiveness of the Castilian sobriety. Already fully consolidated, in 1943 he obtains the first medal at the National Exhibition of Fine Arts and in 1944 he is selected to participate in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honor at the National Exhibition, although he gave it up in order to facilitate its concession to José Gutiérrez Solana, who died days before the jury's decision. From this decade on, his exhibitions in art centers and galleries such as the Círculo de Bellas Artes in Madrid or the Estilo gallery, and in 1946 he was once again selected for the Salón de los Once. He also began to participate in international exhibitions, such as those of Spanish Contemporary Art held in 1947 in Buenos Aires, Rio de Janeiro and Sao Paulo. He was also awarded the Grand Prize at the Hispano-American Biennial in Madrid (1951) and exhibited at the Museum of Modern Art in Paris (1951), the Venice Biennial (1956), the Princess of Paravinci's Palace in Rome (1965), etc. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and in 1978 he joined the Academy of San Jorge in Barcelona. That same year he was awarded the Gold Medal for Merit in Fine Arts. Benjamín Palencia is currently represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.
Lot 103
VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879-1963)."Basque old man", 1912.Oil on canvas.Signed, dated, located and dedicated in the lower right corner.Work referenced in "Valentín de Zubiaurre. Life and work", by Rebeca Guerra.Measurements: 59,5 x 46 cm.An elderly villager is represented in the foreground, in profile, opening behind him the partial view of his village, with whitewashed houses, arranged in ringlera. It is a type of folklorist representation in which Valentín de Zubiaurre especially excelled, exalting popular types and Basque corners, about to disappear. His art is inscribed within the framework of the rise of regionalism in fin-de-siècle Spain and the beginning of the 21st century. Realistic and meticulous, Zubiaurre developed his own style within this trend, which can be seen in the palette of intense contrasts, the preeminence of the line and the expressiveness of the physiognomic features.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and mute, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them 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 period of greatest success and recognition, 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 Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. 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 Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
Lot 11
JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937)."Field of poppies". 1993.Oil on canvas.Signed in the lower right corner.Measurements: 54 x 65 cm; 67 x 79 cm (frame).With label on the back of the Sala Parés.Son of Emilio Grau Sala and Ángeles Santos Torroella, he is formed in Barcelona. In 1949 he makes several trips to Paris, where he has the opportunity to contemplate first hand works by Sisley, Van Gogh and various impressionists and post-impressionists. He held his first individual exhibition at the Sala Libros in Zaragoza 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 regularly exhibits individually at the Sala Parés in Barcelona, and in 1968 he participated in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on color, is characterized by a very elaborate technique and a deep knowledge of drawing. He also made 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), medal of the Fine Arts Exhibition (Madrid, 1961), III Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), City of Barcelona Medal (1965), Huesca Painting Biennial Prize (1976), Condesa de Barcelona Medal (Madrid, 1983) and Medal of Honor 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.
Lot 111
JOAQUÍN MIR TRINXET (Barcelona, 1873 - 1940)."Landscape.Oil on canvas.Signed in the lower right corner.Measurements: 45 x 37 cm; 58 x 48 cm (frame).In this work Mir demonstrates his absolute mastery of the technique and the capture of the landscape, in an image in which he manages to synthesize the naturalistic expression, the personal expression and the pictorial order. We see a sensitive brushstroke, which explores the space and gives it form and entity, creating volumes, lights and shadows, defining an atmosphere captured with great sensitivity. Through a purely personal language, Mir synthesizes the basic elements of representation and expressiveness of painting, as can be seen in the intensity of his colors or in the rigor of his compositional structure.Joaquín Mir studied at the Escuela de Bellas Artes de 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 hometown. In 1893 he formed the "Colla del Safrà" together with artists such as Isidro Nonell, Ricard Canals and Ramón Pichot, and in the last years of the century he was associated with the artistic environment of "Els Quatre Gats". He completed his training in 1895, when he spent a season in Madrid copying works by Velázquez. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital in order to compete for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, on a trip that would be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, specifically by the landscape of Sa Calobra, which was an inexhaustible source of inspiration for him. In 1901 he exhibited the fruit of this first Mallorcan period individually at the Sala Parés in Barcelona, and once again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Already consolidated as an outstanding figure of the Catalan panorama, he acquires the definitive recognition at national level in 1917, when he is awarded the National Prize of 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 honor at the National Exhibition in Madrid, an award he had been pursuing since 1922. Although he was mainly a native painter, he had solo and group exhibitions in Washington, Paris, Pittsburg, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the most outstanding representative of Spanish post-impressionist landscape painting. His work is preserved in the National Art Museum of Catalonia, the Prado Museum, the Thyssen-Bornemisza Museum and the Reina Sofia Museum in Madrid, among many others.
Lot 25
JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Giving water to the horses".Oil on canvas.Signed in the lower left corner.Measurements: 30 x 50 cm; 56 x 70 cm (frame).It is also habitual in the best works of Cusachs the careful work of the landscape, with a subtle and fluid brushstroke that reflects with the fidelity of a watercolor the light and the atmosphere of the scene.José Cusachs was accidentally born in France, as his parents were traveling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy to pursue a military career. However, in 1882, after a brilliant career that led him to be Captain of the Army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the direction of Simón Gómez, he completed his artistic studies with a stay in Paris, in the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that would be Cusachs' favorite. Within the military themes, this artist was especially inclined to cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in the work of F. Barado entitled "La vida militar en España" (Military life in Spain). Previously, before leaving the Army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military condition. It was precisely the success of these early works that prompted him to finally abandon his previous career to focus on art. During these years he would make his work known through individual exhibitions, such as the ones he held regularly from 1884 at the Sala Parés in Barcelona, always obtaining great success in sales and critics. In 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also participated in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent María Cristina ("En el campo de maniobras"). In 1891 he participated in the Berlin Exhibition and won the Gold Medal for his work "Maneuvers of division". Cusachs also stood out as a famous military portraitist, and painted, among others, General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz. Other notable works by his hand are "The Flight to Egypt" (1904) from the Monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of evaluation, study and meditation. Thus, he adopted those aspects he considered of value, and discarded the rest. The bulk of his work is collected in the Museum of Modern Art in Madrid and the National Art Museum of Catalonia, as well as other centers such as the Museum of Montserrat, the National Museum of History, the Captaincy General of Valencia, the Artillery Headquarters of Valladolid, the Gallery of Illustrious Captains of the City of Barcelona and prominent private collections, such as the Santiago Gramunt.
Lot 60
JOSEP MARIA TAMBURINI DALMAU (Barcelona, 1856 - 1932)."Day in the countryside.Oil on canvas.Signed in the lower left corner.It carries a label of Barrachina & Ramoneda.Measurements: 42 x 64 cm; 68 x 89 cm (frame).Tamburini remains in this work halfway between the contemporary costumbrista representation and the symbolist evocation, in a typically fin-de-siècle image that transcends the realistic portrait to enter a lyrical scenario, of poetic echoes both in the feminine figure and in the own way of capturing the landscape.Painter and art critic, and a leading figure of Catalan modernism, Tamburini began his training at the Escuela de La Lonja in Barcelona, and later completed his studies in Paris, with L. Bonnat, and Rome. He collaborated as a cartoonist, art critic and poet with the magazine "L'Avenç", one of the most outstanding artistic publications of Catalonia at the turn of the century. He also wrote for "La Vanguardia". As a painter, he began his career in history painting and anecdotal realism, to later evolve along the lines of symbolism, strongly influenced by English pre-Raphaelism. Recognition came in 1888, when he won a silver medal at the Universal Exposition in Barcelona. He continued to participate in official exhibitions in Barcelona and Madrid, and was again awarded at the Barcelona Exhibition in 1898, where he received the Queen Regent's Extraordinary Prize. In 1911 he received the Prize of the Kings of Spain. As a mature painter, he worked on placidly fantastic, detailed and precious themes, as well as religious themes and some portraits. He was also a member of the Board of Museums of Barcelona, advisor to the Academy of Fine Arts, professor at the School of La Lonja and co-founder of the Artistic and Literary Society of Catalonia (1911). He is represented in the MACBA, the National Museum of Art and the Library of Catalonia, the Royal Academy of Sant Jordi, the Casa Lis Museum in Salamanca and the Fine Arts Museums of Valencia and Seville, as well as in numerous private collections.
Lot 7
BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Botijo".Painted ceramic.Certificate of authenticity issued by the Benjamín Palencia Archive can be issued at the buyer's expense.Measurements: 35 x 18 cm.Founder of the School of Vallecas together with Alberto Sánchez, sculptor, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape typical of the Generation of 98. With only fifteen years Palencia leaves his native town and settles in Madrid to develop his training through his frequent visits to the Prado Museum, since he always rejected the official teachings of the Royal Academy of Fine Arts of San Fernando. In 1925 he participates in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travels for the first time to Paris. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he would later apply to his work, incorporating new materials such as sand or ashes. It will be from this Parisian stay when Palencia's work acquires a surrealist tone, evidenced in an increasingly greater expressive freedom that will reach its fullness in his period of maturity. On his return to Madrid he founded the Vallecas School (1927), and made his individual debut at the Museum of Modern Art (1928). Palencia will gradually abandon still lifes to take up again the Castilian landscape, capturing it through a magnificent synthesis between tradition and avant-garde. This personal aesthetic of the landscape will reach its culmination in the School of Vallecas and, after a brilliant surrealist incursion in the early thirties, at the outbreak of the Civil War Palencia remains in Madrid, suffering like his peers of his generation a period of deep crisis. After the war, between 1939 and 1940 his painting took a radical turn; he abandoned the cubist and abstract influences and even the surrealist aspects, in search of an art of strong chromatic impact, linked to Fauvism. Focused on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work will gather images of the Castilian countryside and its peasants and animals; his painting becomes a testimony of the rough, the coarse and the rural, of the subtle expressiveness of the Castilian sobriety. Already fully consolidated, in 1943 he obtains the first medal at the National Exhibition of Fine Arts and in 1944 he is selected to participate in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honor at the National Exhibition, although he renounced it to facilitate its concession to José Gutiérrez Solana.
Lot 73
ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940)."Marina".Oil on canvas pasted on board.Signed in the lower right corner.Measurements: 47 x 46 cm; 64 x 63 cm (frame).In this composition, the coastal landscape is stripped of all superfluous elements. The ochers with golden shades harmonize with iridescent blues and cerulean. A beautiful formal and chromatic purification with which Meifrèn transmits the intense calm of the Mediterranean. A painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made 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 participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
Lot 75
DIONÍS BAIXERAS VERDAGUER (Barcelona, 1862 - 1943)."Port view".Oil on canvas.Signed in the lower left corner.Measurements: 50 x 81 cm; 73 x 103 cm (frame).In this port scene, Baixeras transmits us a costumbrista image devoid of all folkloric eagerness. On the contrary, he captures the everyday moment charged with harshness, but also with poetry, with sailors repairing their boats on a cold winter morning. He also highlights the gradual remoteness of the boats, glimpsed through the humid atmosphere. All of this is resolved with his characteristic thick and emphatic brushstrokes.A disciple at the Escuela de la Lonja of Martí Alsina and, above all, of Antonio Caba, during his student years Baixeras received the nickname of "el medallas" (the medal winner), due to his ease in winning competitions. He exhibited for the first time in 1882, at the Sala Parés in Barcelona, and four years later he traveled to Paris, where he was enthusiastic about the peasant-themed realism of Millet and Bastien-Lepage. During these years he won awards at the Fine Arts Exhibitions of Madrid (1884, third medal) and Paris (1886, honorable mention). Back in Barcelona he made great compositions of historical character, such as those of the auditorium of the university (1888), those of the seminary (1904, destroyed in 1936) and those of the dome of the hall of Sant Jordi of the Generalitat (1928). In 1907 he made a series of drawings of documentary type, focused on the representation of the corners of Barcelona that would disappear with the construction of the Via Layetana, which earned him a prize from the City Council. In 1926 he joined the Royal Academy of Fine Arts of Sant Jordi, and was linked to the Artistic Circle of Sant Lluc since its foundation. During his last years he wrote some interesting memoirs, the original manuscript of which is currently preserved in the Academy of Sant Jordi. Baixeras devoted himself mainly to naturalistic painting, with marine or rural themes, in works that show a certain influence of the school of Olot. He meticulously elaborated his works in the workshop, so his previous drawings have much more freshness and interest. In 1908 he made a collection of drawings, of great documentary value, of places in old Barcelona that were to disappear during the construction of the Via Layetana. His work is preserved in the Metropolitan of New York, the Museum of Art and Industry of Roubaix (France) and the MACBA, among others.
Lot 78
JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923)."Girl", 1882.Oil on canvas.Attached certificate of authenticity issued by Mrs. Blanca Pons Sorolla.Work exhibited at: Exhibition tribute to Sorolla. Sala Parés, 1948 (Reproduced in the catalog in black and white).Work reproduced in: Bernardino de Pantorba, The life and work of Joaquín Sorolla. Biographical and critical study. Madrid, 1970, nº1152.- Catalogue Raisonné of the artists BPS 256.Presents label of the Sala Parés (Barcelona) and the Montenegro Gallery (Vigo).Measurements: 49.5 x 37.5 cm; 63 x 50 cm (frame).During the years 1881 and 1882 Sorolla, traveled frequently to Madrid, where he came into contact with the painting of the Prado Museum in Madrid, opting for the baroque decided to copy the great masters such as Velázquez or Ribera. In this painting of a young Sorolla, we can already appreciate that loose brushstroke so characteristic of his painting, although it is still somewhat timid, in relation to his later paintings. The darkness of the background lets the influence of the great baroque masters pulsate. However, the luminosity of the white of the neck, added to the pearly and pink skin of the protagonist, allows us to perceive a certain luminosity in the scene.Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes taught by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity would remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain.
Lot 86
IGNACIO DÍAZ OLANO (Vitoria, 1860 - 1936)."Las langosteras", ca.1925.Oil on canvas.Signed in the lower right corner.Work reproduced in color in "Basque painters and sculptors of yesterday, today and tomorrow", page 307.Measurements: 100 x 90 cm; 120 x 110 cm (frame).The production of Ignacio Díaz Olano is inscribed 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. In this canvas, Olano offers us a realistic portrait of local customs, centered on the representation of two lobsterwomen from the Basque Country. The two women converse relaxedly beside the estuary of the village, while the basket with the lobsters caught during the day rests next to them. The clothes they both wear, with clogs and wide aprons, as well as the regional hairstyles they wear, denote the painter's search to reflect the types and customs of the Basque Country, which make it different and unique. In this boom of regionalist art, painters like Olano vindicated their own roots and, above all, the traditions and forms of dress, at a time when customs were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus became in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation.Ignacio Díaz began his training in Vitoria, and then studied in Barcelona, with a scholarship from the Vitoria City Council, between 1876 and 1880. In Barcelona his teacher was Gustavo Bacarisas, and he studied at the School of Fine Arts. After finishing his apprenticeship he returned to his native city, where he collaborated for some time in the weekly magazine "El Danzarín", signing his drawings with the pseudonym "Galop". Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing. He also worked in the French capital as a set designer for the Opera House. In 1894 he went to Rome with his friend Felipe Arrieta. After two years in Italy, in 1896 he took up permanent residence in Vitoria. Between 1890 and 1925 Díaz participated in multiple editions of the National Exhibitions of Fine Arts, obtaining a bronze medal in 1895 and a silver medal in 1899 and 1901. He taught at the School of Arts and Crafts of Vitoria, and was a professor of drawing at the Institute of the same city. His work is mainly costumbrista, and is impregnated by a great naturalism. He was also a great portraitist, having also cultivated still life and landscape. In 1963 the Provincial Council of Alava held an anthological exhibition of his work in his honor, exhibiting one hundred and fifty-eight works. The critic Mario Ángel Marrodán stated: "The ardent and powerful lyricism of his painting is the result of the fusion or confrontation of man with his time, of the painter and his environment, or of the artistic reality between rustic and wild from which he has extracted the new fruits of the work of art". Ignacio Díaz is currently represented in the Prado Museum (his work is on deposit in the Fine Arts Museum of Asturias), the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Alava, the City Hall and the School of Arts and Crafts of Vitoria, the Caja Vital Foundation and the collection of the Bank of Vitoria, as well as in numerous private collections.
Lot 88
VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque types".Oil on canvas.Signed in the lower left corner.With label on the back of the XXemeExpositionBiennaleInternationale des Beaux-Arts, Venice, 1936.Measurements: 101 x 101 cm; 123 x 123 cm (frame).Valentín de Zubiaurre demonstrates in this painting his superb gifts as a portraitist, reflecting with naturalism and closeness to the three main characters, perfectly individualized in their attitudes and features. Zubiaurre, who knew like no one else how to represent the people of his time, especially Basques and Castilians, takes pleasure in the attitudes of the figures, with serious and measured gestures. The young girl, dressed in popular Basque clothing, is presented in strict profile, holding a basket of fruit in her right hand. Her gaze is directed to the old man in front of her, whose reflective face alludes to hard work and life in the countryside. In his right hand he holds a walking stick, revealing his advanced age, while in his left he holds a jar. Like him, the villager behind him, with an imperturbable gesture, wears popular clothes and a txapela. Special mention should be made of this last character, who looks directly at the viewer, an aspect that departs from what is usual in contemporary Spanish genre painting, where the characters usually ignore the painter's presence (as, in this composition, the other two villagers do). Behind this monumental group portrait, we see a group of houses of the village unfold. The white walls and gabled roofs tell us that we are in a small village in the Basque Country, full of life according to the locals who invade its streets.The son of the musical composer of the same name, Valentín de Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them 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 period of greatest success and recognition, 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 Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. 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 Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
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