We found 183841 price guide item(s) matching your search
There are 183841 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
183841 item(s)/page
Lot 313
A Peru silver 8 Reales, Limas, Caroilius III, 1764, dot above both mint marks, a Geo III cartwheel twopence, 1797, two Victorian half crowns 1892/93, A Geo mV bronze coronation medal in presentation case, a Canadian silver dollar 1935, Elizabeth II Australian 50 cents, 1966, a 1986 proof set, a USA proof set 1969, and other loose coins, various dates, grades and denominations
Lot 360
Great War MM group of 3 awarded to Second Lieutenant Reginald Griffiths, Duke of Cambridge's Own (Middlesex Regiment), Military Medal (G-22133 PTE R.GRIFFITHS.23/MIDDX:R), British War and Victory Medals, all named, with original Army paperwork discharge to commission and commission documentMilitary Medal - London Gazette 21 August 1917, issue 30243, pg 8644, wounded 4/8/16 Consigned by the family
Lot 361
A Second World War group of five medals awarded to Lieutenant Jack Houghton Baker, Indian Army/Worcestershire Regiment; 1939-45 star, Africa star, Italy star, Defence and War medals, with full set of miniatures and additional GVI Efficiency miniature medal (Territorial), Kings badge for Loyal Service, cap badges, two Worcestershire Regiment brooches and collar badge, two pairs of 9ct yellow gold regimental cufflinks belonging to him, and his original City of London school blazer badge, with original British Forces I.D. card with photograph and details of the receipient, newspaper cuttings and paperworkServed in Greece, and Italy where he was invalided out at Monte Cassino whilst with a company of Gurkhas. Consigned by the family
Lot 188
A 9 carat yellow gold St Cutbert Chapter Masonic medal with red silk ribbon. Inscribed 'E. Comp. D. Rudnidsky by the companions of St Cuthbert Chapter, No.1375. E.C. 20th September 1932, The front with a crown set with two round mixed cut rubies. Hallmarked Spencer London, 9ct, Birmingham. Each of the three gold bars stamped 375.
Lot 6
Signed Hand written letter from Captain Phillip Leonard Gunn H.M.S. Wasp 1942 Sympathising for the loss of a Son dated 24th August 1942, Phillip Leonard Gunn was Born 5th April 1895 He was the Son of Chief Gunner James Gunn he was Married on the 13th of April 1919 at Richmond upon Thames London, becoming Acting Captain of HM Wasp from 23rd March 1942 to 19th May 1943 when He became Captain of HMNZS Achilles (Cruiser) and was awarded the Distinguished Service Medal. 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.
Lot 6
A small gold-mounted glass pendant with cristallo-ceramie portrait of Napoleon Bonapartecirca 1802-03The portrait possibly by Desprez and mounted by William Harris, the bust portrait depicting the Emperor as First Consul, to dexter, inscribed BONAPARTE, on a cream backing, inscribed HARRIS to the interior of the glass, within an oval gold case and suspension loop, the red leather velvet-lined and silk case with paper label on the interior, inscribed Harris Gem and Seal Engraver PALL MALL No.22 4.5cm by 3.6cmFootnotes:William Harris was a London medal engraver in the late 18th and early 19th centuries. Examples of his work have been sold at auction in recent years. Although sulphides or cristallo-ceramie are attributed largely to Apsley Pellatt in England from 1819 and later to the paperweight factories of France, it is believed that Desprez, an artist about whom unfortunately very little is known, had mastered the technique of incrustation during the reign of Napoleon, and did so with a perfection that his contemporaries or his successors seldom achieved. It has been suggested that this pendant relates to the Peace of Amiens in 1802, the portrait depicting Napoleon as First Consul.For further information on this lot please visit Bonhams.com
Lot 17
A very rare Paris engraved glass portrait beaker by Broussouze, circa 1810Of so-called 'Charpentier' type, the cylindrical form with a flared rim, finely decorated with a profile portrait of Napoleon Bonaparte after Galle, the Emperor facing dexter and wearing a laurel wreath, signed 'BROUSSOUZE', the rim with a formal foliate border, 9.4cm highFootnotes:Glasses of this form produced during the Empire period are traditionally referred to as 'Charpentier glasses' after a certain Charpentier, whose name and Parisian address were discovered on a label inside the cover of the case of a related beaker in the Museum Kunstpalast, Düsseldorf (inv. no. mkp.P 1940-189). See Walter Spiegel, 'Pariser Glasschnitt im Empire: Die so genannten Charpentier-Gläser', Die Kunst (5/1987), p.393 for a discussion. 'Charpentier glasses' are found in three general forms: cylindrical, bell-shaped, and that of the present lot.We know relatively little about the identity of Broussouze, other than he was established in Paris at 150 Rue Montmartre from 1808, and at 137 Galerie de Pierre in the Palais-Royale from 1810. A signed beaker engraved with a profile portrait of Louis XVIII by Broussouze with an identical foliate border, dated to circa 1814-20, is illustrated and discussed by Fernando Montes de Oca, L'Age D'Or du Verre en France (2001), pp.181-3, no.149. The same beaker is also illustrated by Brigitte Baumgärtner, Porträtgläser (1981), p.49, fig.54. This beaker is mentioned together with the present lot by Spiegel (ibid.) at p.396. It is possible the Parisian glass engravers such as Broussouze were influenced by contemporary Bohemian engravers, but the quality of French engraving of this period is generally softer and more painterly. The profile of Napoleon's nose on the present lot, which is slightly more 'Roman' than usually seen, together with the bow to the back of the laurel wreath, suggest that the portrait is taken from the medal struck in 1805 by André Galle rather than the virtually identical medal struck in 1804 by Bertrand Andrieu.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
Lot 44
NELSON (HORATIO)Autograph letter signed ('Nelson & Bronte') to Captain John Fyffe, approving of his conduct ('...I have read with much attention Your correspondence with the Popes Legate at Ancona and also Your correspondence at Venice relative to the very extraordinary and unjustifiable conduct of the Government at that place in seizing Your prizes, and from Your account of Your whole transactions in the Adriatic I have no scruple in saying that I most highly approve of Your conduct, and think that you have acted with that temper and forbearance which our Government must highly approve...'), and wishing that he had some good vessel to offer in place of the Cyclops, one page, 4to (235 x 180mm.), some staining, archival restoration, framed and glazed (unexamined out of frame), Victory off Toulon, 15 September 1803Footnotes:Provenance: Bonhams, Nelson & The Royal Navy 1750-1815, 5 July 2005, lot 129 Private collection, UK'I MOST HIGHLY APPROVE OF YOUR CONDUCT'Captain John Fyffe was appointed to the Cyclops in 1798 and participated in the disembarkation of troops at Abukir Bay in the Egyptian campaign of 1801, for which he received a gold medal from the Grand Seigneur. After a short period of peace, he was despatched in May 1803 to the Adriatic to disrupt the enemy's trade. Whilst conducting a convoy to Trieste in July, he became embroiled in two disputes over 'neutrality' in the area, the first regarding the legitimacy of captured prizes, the second '...concerning three British merchant ships taken into Ancona by a Cisalpine corsair. Technically Ancona was neutral, part of the papal domain, but the French had established a military camp outside the town and pretty much did as they wished. Fyffe complained that the privateer had been illegally manned by Roman subjects, but the town governor said that there was nothing he could do even if that were true... he managed to retrieve the crews of the tenders but failed to resolve either dispute. Nelson sympathised, and was so pleased with Fyffe's efforts to defend the British flag that he promised him a more active vessel...' (John Sugden, Nelson: The Sword of Albion, 2014, p.639). The following January Nelson wrote to the Secretary of the British Legation at Vienna: 'I have received your letter of 1st September last, acquainting me that every possible reparation has been made by the Austrian Minister for the outrage against the British Flag... I am very glad the Austrian Government have seen Captain Fyffe's conduct in its proper light, and that the necessary reparation has been made, as I was perfectly satisfied with the correctness of that Officer's proceedings on the above occasion' (Nicolas, v, p.393).Whilst our letter is not included in Nicolas, Dispatches and Letters nor in White's New Letters, it was published in full as part of Fyffe's obituary in June 1835: '...How well Captain Fyffe executed this duty may be conceived from the autograph letter of the immortal Nelson, who soon after succeeded to that command... Such communications from such a man, fully consoled our gallant officer for the pecuniary losses himself and crew sustained under this extraordinary breach of the rules of war; and we very soon after find him – the Cyclops being ordered home and paid off – commanding the Reindeer brig of 18 guns on the Jamaica station...' (The United Service Journal, June 1835, Part II, pp.287-288).For further information on this lot please visit Bonhams.com
Lot 137
Circle of Eduard (Peter Eduard) Stroehling (German, 1768-1826)Portrait of Field Marshal Gebhard Leberecht von Blücher, bust-length in the uniform of a Prussian general oil on copper37 x 31.8cm Footnotes:ProvenancePrivate collection, UK.Here, Blucher is seen wearing the dark double-breasted uniform of a Prussian general, with heavy gold aiguillettes and gold buttons. The badge hanging from his neck is that of the Prussian Order of Saint John. Beneath this is a miniature of George IV. He is also wearing the Iron Cross, which is half tucked in his jacket, and the Prussian medal for 1813–1814. On his left breast he wears a number of stars including those of the orders of Bath, of Maria Theresa of Austria, St George of Russia and the Black Eagle.For further information on this lot please visit Bonhams.com
Lot 66
After Domenico Pellegrini (Italian, 1759–1840), by William Haines (British, 1778-1848)Half-length portrait of Sir Thomas Masterman Hardy (1769–1839), wearing his captain's 1795–1812 undress uniform of stock, cravat, epaulettes and dark blue jacket, his Trafalgar Medal displayedoil on ivory, in red leather case 8.9 x 7cm Footnotes:Provenance:The Hardy family and thence by descentLiterature: A.M. Broadley & R.G. Bartelotas, Nelson's Hardy, London, 1909, illustrated as the frontispiece.An inscription on paper affixed to the reverse reads 'Painted by W Haines/10 South Molton St/Grosvenor Sq/April 1812'For further information on this lot please visit Bonhams.com
Lot 128
The Waterloo Medal awarded to Sergeant Isaac Bond of the 52nd Regiment of Foot,Fitted with replacement clip and ring suspension, impressed (Serjeant Isa*c Bon* 1st Batt. 52nd Reg. Foot.). With remains of brooch mounting to the reverse, otherwise generally fine. (1)Footnotes:Sergeant Isaac Bond enlisted on the 16th October 1799, he is noted as serving with John Ewart's Company at the Siege of Badajoz from the 16th March to the 6th April 1812 as a Corporal. He is confirmed on the Waterloo medal roll serving with Captain George Young's Company. He was discharged on the 25th February 1819. He died on the 4th August 1841 at Tidenham, Gloucestershire, aged 70.Sold with copied service papers with letters and comments relating to his service and Pension, copy death certificate.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
Lot 3301
AUTOGRAPHS, ROYALTY. An autographed letter from Queen Victoria signed 'VRI', dated 22 May 1895, on Grand Hotel de Cimiez headed paper, sending birthday wishes to her grandson Prince Christian Victor, together with a letter from Princess Marie Louise recommending George Wise, and a Royal Memo concerning the Royal Victorian Medal conferred to George Wise.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 101
WWI and WWII items to include the British War Medal and Victory Medal both awarded to '241790 Pte. E Woodberry. Som.L.I', WWII London Rifle Brigade and The Welch (The Welsh Regiment) cap badges, 1939-1945 Star and Burma Star ribbon bar, together with a George V Silver Jubilee Medal and WWI trench art of a French Franc fashioned as a brooch engraved 'S J Maksment Ist R.FUSILIERS C/69860', a silver 1915 and 1917 threepenceLocation:
Lot 46
Royal Navy related items to include, embroidered badges/patches and a WWI Victory medal signed 11553 A.SJT.H.B.APPS.M.G.C together with a collection of Royal Navy/Plymouth Naval Day memorabilia to include lanyards, keyrings, pin badges, patches and cap and two Royal Navy white ensign flags together with a Bush TR82/97 portable radio and collectors picture plates to include Wedgwood, Coalport and Royal DoultonLocation: 10:1
Lot 405
A group of five WW1 medals awarded to K.1737, T.H.VINTON.S.P.O, H.M.S. VIVID, Long Service and Good Conduct medal, 'HMS Duke Of Edinburgh' 1917-18 for Meritorious Service Medal, with photograph of William Vinton.Note from the family - at the time the family all lived in Calstock, Cornwall and my great aunties father was Percy Pearce (lot 406), he had a sister Bessie Pearce and she married William Vinton.
Lot 59
Thousands of mint and used stamps from classics to mid-20th century, written-up on quadrille pages with no duplication. Two of the albums are for the British Commonwealth Aden to Zambia incl. K.U.T. KGVI to £1 used, Australia OHMS cover 'For Personal Delivery - War Medal Only' (faults), the bulging 'foreign countries' book with a few pages each of China, Persia/Iran, Russia and area, etc. Various other items alongside, the lot filling a plastic container.
Lot 23
WW2 Collection Of 5 DM Medals Signed FDCs With Postmark Stamps. 1x Appointment to the Most Excellent Order if the British Empire signed by Grp Cptn B A Wright OBE AFC RAF RAF(DM)7. 1x The Award of the Aircrew Europe Star Signed by Sqdn Ldr J B Dobson RAF(DM)11. 1x The Award of the Air Efficiency Award Signed by Sqdn Ldr Carter RAF (DM)13. 1x The Award of Distinguished Flying Medal signed by Sqdn Ldr K D Farnfield and M S Holmes RAF(DM)14. 1x The Award of the Air Efficiency Award signed by Sqdn Ldr B P Doggett and Navigator R S Hanson. Good WW2 Collection. Est.
Lot 395
Flt Lt Charles William Anderson Scott, AFC signed small irregularly cut signature piece. 13 February 1903 15 April 1946 was an English aviator. He won the MacRobertson Air Race, a race from London to Melbourne, in 1934, in a time of 71 hours. While serving with the RAF, Scott gained a reputation for his aerobatic skill and was RAF heavyweight boxing champion for two consecutive years. He left the RAF in 1926 and emigrated to Australia, where he took up a post as a commercial pilot for the fledgling airline company Queensland and Northern Territory Aerial Services (now Qantas). In 1929, while on leave from QANTAS following a crash in a de Havilland DH. 50J, Scott met his first wife Kathleen. In 1930, he broke the solo record from Brisbane to Melbourne in a de Havilland DH. 60 Gipsy Moth aeroplane to get to the birth of his daughter Rosemary. Scott broke the England Australia solo flight record in 1931, flying a de Havilland DH. 60 Moth. [citation needed] For this achievement, the King awarded him the Air Force Cross in 1931. Competing against fellow pilots such as Bert Hinkler, Charles Kingsford Smith and Jim Mollison, Scott went on to beat the Australia England solo flight record in 1932 and then re took the England Australia the same year. In 1934, he was picked, along with Tom Campbell Black, to fly one of three purpose built de Havilland DH. 88 Comet Racers to compete in the MacRobertson Air Race, which is still considered the world's greatest air race. Scott and Black won the race, breaking the England Australia flight record of 162 hours down to 52 hours and 33 minutes. They reached the finish line in Melbourne in 71 hours, winning the £10. 000 prize money and becoming world famous overnight. Following the race, Scott received several medals and awards, including the Gold Medal of the Royal Aero Club and was celebrated wherever he went, including invitations from King Edward VIII. Good condition.
Lot 438
Great War French Croix De Guerre medal with framed citation and yellow braid. Awarded to Soldier Serane Edouard. Citation a lOrde de la Brigade No 129 Loldat Leiane Edouard bronze star medal and certificate award. Since the French Revolution, France has had the custom of declaring deserving citizens or groups to have bien Mérite de la Patrie well deserved the recognition of the Fatherland. This sentiment is continued to this day in the formulation of the citations that accompany medals. Est.
Lot 69
VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997)."Untitled".Ink, watercolor, pencil and collage on paper.Work validated by Mr. Pierre Vasarely.Measurements: 46 x 30 cm; 58 x 40 cm (frame).In this piece the artist plays with the concept of darkness on the surface of the paper in which there are some blank spaces, thus enhancing the bichromy of the piece, and creating an image of great expressiveness and tension that is resolved by the conjunction of black and white. The artist has created on the surface of the paper, a composition whose form moves energetically, merging and separating from each other, in such a way that it suggests a kind of ordered chaos.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a student of the Bauhaus. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid.
Lot 7
MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."La buitrera", 1999.Mixed media on board.Presents label of the Alfama Gallery (Madrid).Measurements: 27 x 27 cm; 40,5 x 40 cm (frame).From 1986 to 2007, Cuixart worked in what is known as a period of introspection in nature and mental landscape. During this period the artist was inspired by symbolism, turning to classical sources such as Aristotle or Pericles. Without abandoning his interest in matter, he introduced concepts such as the atom or fractals.Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he participated in the foundation of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the beginning a strong kinship with surrealism, as well as a great sensitivity to the expressive power of color. Towards 1955 he immersed himself in material informalism, which led him to use the "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde art held at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduces collage in his work in 1962, which will gradually lead him towards pop-art. Enriched by all these experiences, he returns again to flat painting, reaching a very personal critical realism, which synthesizes expressionism with dramatically transformed figuration, always valuing the chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. In addition, he participates in a group exhibition at the UNESCO Palace in Paris, receives the Cross of St. George of the Generalitat of Catalonia, and the Cross of Isabella the Catholic. In 1988, he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colors and shapes, and reincorporates a more material figuration to his work. In 1998 the foundation that bears his name was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo in Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.
Lot 28
RAFAEL MARÍA MARTÍNEZ PADILLA (Málaga, 1878 - Barcelona, 1961)."Bay of Roses", Costa Brava.Oil on canvas.Signed in the lower right corner.Measurements: 100 x 120 cm.Contrary to what happens with other painters, Padilla reached his highest artistic level in the last years of his life, in which his painting evolved from the initial soft symbolist modernism towards a landscape painting of strong color, close to the best works of Joaquín Mir. In this painting we can appreciate the imprint of impressionism, whose intense and almost expressionist chromatism is echoed here in the balance of the different tonalities, applied as in the master's work with short and moving brushstrokes, reflecting the changes in the texture of the countryside, the stones and the furrows.Rafael Martínez Padilla lived in Barcelona from his childhood until 1937 when he moved to France. He returned to Barcelona in 1950. Later he studied at the School of Fine Arts of Sant Jordi, and from 1904 he took part in most of the official competitions and exhibitions held in Barcelona. That year he participated in the Universal Exhibition of 1904 with "El dolor", a work that won a prize, and in 1906 he was distinguished at the National Fine Arts Exhibition in Madrid with an honorary mention for one of the works he presented, entitled "Sic transit". He also obtained a second medal in the International of Barcelona in 1907, for his painting "Marina". He also held individual exhibitions, especially the one held in 1905 at the Sala Parés, where he reiterated his presence later. Padilla was a friend of Luis Bagaria, and frequented Els Quatre Gats. During his stay in France he mainly cultivated the landscape, and held several exhibitions both in Paris and Honfleur. He achieved special success with the one held in 1949 at the Parisian gallery Berheim-Jeune. He also stood out as a portraitist, and painted with success still life subjects and elegant female figures. In 1950, on his return from Paris, he held his last exhibition in Barcelona. He is currently represented in the MACBA, in the Fundación del Banco Hispano Americano and in other important Spanish and foreign art galleries.
Lot 20
ELISEO MEIFREN (Barcelona, 1857 - 1940)."View of the Port of Mallorca".Pastel and chalk on paper.Signed in the lower right corner.Measurements: 46 x 56 cm.; 72 x 92 cm. (frame).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 make romantic landscapes of academic invoice. 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 78
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Flower vase".Oil on canvas. Relined.Presents craquelure and lifting of the pictorial layer.Attached certificate issued by Dr. Gerardo Pérez Calero.Needs restoration.Signed in the lower right corner.Measurements: 81 x 46 cm.Scene that has as protagonist a vase with flowers where the loose and sketchy brushstroke is combined with a masterful treatment of the light, very thought and studied, that models the volumes reinforcing the three-dimensional sensation. Everything in the composition is rational, balanced and symmetrical except for the flowers themselves, which are arranged randomly.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda 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 participated in numerous exhibitions of fine arts, 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 participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
Lot 70
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvasIt has slight losses on the paint layer and craquelure.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower left corner.Measurements: 66,5 x 85 cm.Landscape composed by an architectural group located on a mound. According to Pérez Calero, it could be an old hermitage, or monastery that seems abandoned and of which stands out in a side what should be a sort of chapel with a semicircular arch, near the cemetery, from where a cypress tree can be seen. It is surrounded by a palisade closing the perimeter to which it is acceded by a rustic wooden door. Intramurals, a thing that could belong to the domestic complex, as well as some trees. The piece reflects solitude and silence, tinged by the absence of human presence.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he traveled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda 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 participated in numerous exhibitions of fine arts, 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 participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
Lot 27
MODEST URGELL INGLADA (Barcelona, 1839 - 1919)."Landscape with figure".Oil on canvas.Signed in the lower left corner.Measurements: 58.5 x 46 cm; 83 x 71 cm (frame).Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as 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 a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like windows open to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, 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 theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.
Lot 36
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Astro".Acrylic on canvas.Signed in the lower right corner, titled and signed on the back.Measurements: 53 x 64 cm; 67,5 x 78,5 cm (frame).Great surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcazar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he settled in Paris, thanks to a scholarship from the French Institute. After winning two consecutive prizes in the Young French Painting Contest, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Gold Mill of the XXI Manchegan Exhibition of Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca Gallery in Madrid, to the United States, the world center of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Ubeda continued to receive important awards throughout his long career, especially highlighting the Grand Prize for Painting of the Circle of Fine Arts in 1980. Likewise, in 1998 the Centro Cultural de la Villa de Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition of thirty-five paintings at the Caja de San Fernando in Seville, dedicated to three of his constant themes: the landscape, the female nude and the still life. Úbeda has held individual exhibitions in several Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the Villa in Geneva and Paris, the Museum of Fine Arts in Jaén, the Museum of Contemporary Art in Badajoz, the Museum of Modern Art in Valdepeñas, the Museum of Engraving in Marbella, the Municipal Museum in Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum in Zaragoza, the Provincial Museum in Ciudad Real and, in the United States, the Museums of New Mexico, San Diego, Phoenix, Lowe in Miami and Evansille in Indiana.
Lot 14
Attributed to ARCADIO MÁS Y FONDEVILA (Barcelona, 1852-1934)"Woman with plates.Oil on canvas.Presents lack of paint and breakage in the upper left area.Measurements: 48 x 92 cm; 43 x 107 cm (frame).The author presents us with a voluptuous and suggestive image, conceived through the presence of a woman lying in a lush landscape. The lady is accompanied by several geese or swans, which she stares at, ignoring the viewer's gaze. Both the idea of the woman immersed in the landscape and the presence of the geese are elements typical of Arcadio Más's painting, as can be seen in several works that are part of the collection of the National Museum of Art of Catalonia.Painter and draftsman, founder of the luminist school of Sitges, Arcadio Mas i Fondevila was trained at the La Lonja School in Barcelona, where his teachers were Antonio Caba and Claudio Lorenzale. At the age of twenty he took part in his first collective exhibition, organized in the hall of the Artistic Association of Barcelona. In 1875 he won the first Fortuny scholarship from the City Council of Barcelona, which allowed him to further his studies by traveling to Italy as a boarder between 1876 and 1886. During these years, Arcadi Mas i Fondevila visited Venice, Rome, Naples and Capri, while participating in several group exhibitions at the Sala Parés in Barcelona. Ascribed to the Neapolitan naturalist school of Domenico Morelli, in 1885 he also participated in the exhibition of the Center of Watercolorists of Barcelona. On his return to Catalonia, his friend Joan Roig Soler encouraged him to visit Sitges, and from this meeting and acquaintance was born the luminist school of Sitges, a pictorial current that brought together other artists such as Joaquim de Miró, Antoni Almirall and Joan Batlle. In 1887 he participated in the National Exhibition of Fine Arts in Madrid, and won a medal for his work "Corpus Christi Procession in Sitges". He also participated in the Universal Exposition of Barcelona the following year, being awarded the first medal. In 1895 he travels again to Madrid, this time accompanied by Santiago Rusiñol and Zuloaga, and later he goes to Granada with Rusiñol, Miguel Utrillo and Macari Oller, with the intention of illustrating some articles of the first one for "La Vanguardia". Mas i Fondevila won two more medals at the Fine Arts Exhibitions in Barcelona in 1894 and 1896, and in 1899 he joined the Círculo Artístico de Sant Lluc. In 1900 he inaugurated the Rovira Salon in Barcelona with his first individual exhibition, a show that consecrated him as a master of pastel. An example of the relevance of this painter can be found in the fact that Picasso had copied one of his nudes from 1895. During this period, Mas i Fondevila also collaborated as a draftsman in "La Ilustració Catalana". Thanks to a donation from the American patron Charles Deering, in 1913 he painted the tympanum of the Santa Catalina portal of the church of San Bartolomé and Santa Tecla in Sitges. Today a copy can be admired "in situ", the original having been erased by the passage of time. In 1928 he was commissioned to paint one of the murals of the Sala de Sant Jordi in the Palace of the Generalitat in Barcelona, and in 1932 he exhibited again individually, this time in the Pinacoteca room. On the occasion of the fiftieth anniversary of his death, the Sitgetan Studies Group dedicated an anthological exhibition to him at the Maricel Museum (1985). In his painting, Mas i Fondevila combined Catalan localism with his Neapolitan memories. He also worked on portraits, with outstanding works such as those of Antonio Caba and Pitarra. He is represented in the National Art Museum of Catalonia, the Maricel, the Cau Ferrat and the Sitges Town Hall, as well as in other museums and private collections.
Loading...-
183841 item(s)/page