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Mixed Lot: Royal Scott cranberry glass vase, further Art Glass bird, modern vase and further dish (4)

A large modern design Spanish art glass dish with galleon design decoration diameter 50cm NO RESERVE

Large 8ft tall painting depicting modern art

Selection of pictures to include forth rail bridge picture, modern art picture set in gilt frame etc

Four unframed exhibition posters comprising Tate Modern 'Edvard Munch', 28th June - 14th October 2012, Tate Liverpool Modern Master 'Chagall', 8th June - 6th October 2013 and two National Portrait Gallery - 'David Hockney Portaits Life Love Art', 12th October 2006 - 21st January 2007 (4)

Six unframed exhibition posters to include; Royal Academy of Arts 'The Popart Show', 13th September - 15 December 1991, 'Building the Revolution; Soviet Art Architecture 1915 - 1935', 29th October 2011 - 22nd January 2012, Tate Britain 'Fiona Banner', 28th June 2010 - 3rd January 2011, Tate Modern 'Futurism', 12th June - 20th September 2009, etc, 51cm x 76cm high (6)

A Modern Art Deco Style Oval Locket Pendant, together with assorted dress rings, a stylish kingfisher brooch stamped "925", an openwork brooch for foliate scroll design, earrings (odd) etc.

Eight modern glass decorative art glass paperweights to include swirl and millefiori examples, etc (8).Qty: 8

Modern Hermle brass Big-Ben skeleton clock under a glass dome, 24cm, together with an Art Deco mantel clock, 23cm (2)Condition Report: The Big Ben clock has some metal work with bends to the top finials.There is no key, and the bob is not attached.We cannot guarantee that the clock will work. Dome is in good condition..

A collection of works of art, including silver plate napkin rings, a ships whistle, compass Jerusalem tourist items, a modern Chinese scroll, etc AF (qty)

JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990)."In the kitchen".Oil on canvas.Signed in the lower left corner and on the back.Work exhibited in the anthological exhibition of the author held in 1991, of which a catalogue is enclosed (although the work in question does not appear in the catalogue) and a request to be exhibited in the exhibition.It has a small patch on the back.Measurements: 116 x 89 cm; 124 x 97 cm (frame).Joan Brotat trained at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona, and in 1950 he took part for the first time in an exhibition, invited by Ángel Marsà to his Cycle of Experimental Art. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. Brotat was awarded the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among other distinctions. He is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Modern Art Museums in Madrid and Alexandria and the Municipal Museum in Valls.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Yucatán 3", 1987.Mixed media on Kraft paper adhered to cardboard.Signed and dated in the lower right-hand corner.Provenance: Private collection.Measurements: 22 x 32 cm; 33 x 48 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."After one two, three by ryokán", 1988.Construction in wood, canvas and paint.Signed, dated and titled on the back.Size: 73 x 129 x 5 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

DON FINK (Duluth, USA, 1923 - Barcelona, 2010).Untitled, 1990.Oil on canvas.Signed and dated in the lower right corner.Size: 89 x 116 cm.A painter born in Duluth, Minnesota, Don Fink settled in Paris in the 1950s, together with the painter Paul Jenkins. There he formed part of the school of French lyrical abstraction, with the result that his work was strongly influenced by European informalism. From 1977 he lived and worked in Barcelona, and continued to hold exhibitions in Europe and the United States, in prominent galleries such as the Lors in London, the Sidenberg and Joan Prats in New York, the Rayuela in Madrid, the Sebastià Jané in Barcelona, and so on. He is currently represented in the Withney and Brooklyn Museums in New York and the Georges Pompidou Museum of Modern Art in Paris, as well as in other public and private collections.

SALVATORE GARAU (Italy, 1953)."Fondamenta", Gandía, 1990.Oil on canvas.Signed, dated, titled and located on the back.Measurements: 140 x 140 cm.Italian artist born in Santa Giusta (Sardinia), Salvatore Garau trained at the Academy of Fine Arts in Florence, graduating in 1974. After an initial period devoted to music, he focused his career on visual art. He held his first solo exhibition in 1984, and since then has shown his work in various European cities. In 2003 he participated in the Venice Biennale and held an exhibition at the European Parliament (Strasbourg). Six years later he held a major solo exhibition at the Musée d'Art Moderne et Contemporain in Saint-Étienne (France). He is currently represented in the Museo del Novecento and the Pablleon of Contemporary Art in Milan, the Museum of Modern Art in Bologna, the Museum of Modern and Contemporary Art in Saint-Étienne, the MACAM in Maglione, the Museum of the Italian Embassy in Seoul, the Sala Parpalló in Valencia and other important collections.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003).Untitled.Mixed media (metal, wood, sackcloth.Signed on the back.Measurements: 77 x 56 x 52 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Tangonacht", 1994.Mixed media and collage on Japan paper.Signed and dated in the lower right corner. Signed, dated and titled on the back.Provenance: Private collection.Measurements: 56 x 76 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist slant, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Lluna plena, 2000.Mixed media (watercolour, charcoal and coloured pencil) on paper glued to cardboard.Signed and dated in the lower right-hand corner.Provenance: Private collection.Size: 15 x 21 cm; 19.5 x 29 cm (frame).After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Bachcantata", 1991.Construction in metal mesh, oil and wood.Signed, dated and titled on the back.Size: 70 x 77 x 5 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Exaltation", 1991.Polychrome canvases on wood.Signed, dated and titled on the back.Measurements: 76 x 80 x 3 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Composition, 2000.Watercolour, coloured pencils and pastel on paper with poetry glued to cardboard. Framed with passe-partout.Signed and dated in the lower left corner.Provenance: Private collection.Size: 17 x 21 cm.After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism marked the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

TADAO ANDO (Osaka, 1941).Untitled.Graphic work and coloured drawing on paper.Hand signed.Size: 15,5 x 13,5 cm.Tadao Ando is a self-taught architect greatly influenced by the work of Le Corbusier, trained mainly during his travels in the USA, Europe and Africa between 1962 and 1969. During his travels he visited buildings by Mies van der Rohe, Le Corbusier, Frank Lloyd Wright and Louis Kahn, which clearly influenced the forms and materials of his buildings. In 1968 he returned home and founded Tadao Ando Architects & Associates in Osaka. His achievements as an architect include winning the 1995 Pritzker Architecture Prize from the Hyatt Foundation. His early works show an incipient postmodern style, although clearly adapted to Japanese customs. In 1976 he completed his first work, Azuma House, where Tadao Ando divided the house into two volumes, one private and the other shared, with a courtyard between them for the "play of wind and light". The presence of natural elements in his works would accompany him throughout his career. During the eighties, Tadao Ando leapt onto the international scene as the leading exponent of the new Japanese architecture. From these years we highlight the Rokko Housing development (1983-1993) with his Chapel on Mount Rokko (1986), in these buildings the influence of Le Corbusier on Tadao Ando is evident in the use of concrete as the main material, although the individualised treatment of light gives his works a personal stamp. In 1992 he designed the Japanese Pavilion for Expo'92 in Seville. A large ephemeral wooden structure. The Museum of the Forest of Tombs (1992) is a space full of symbolism in which Tadao Ando abandons straight lines, but not the coldness of concrete. Among Ando's notable works at the turn of the century are the Awaji Yumebutai in Hyogo (1997) and the Modern Art Museum in Fort Worth, Texas (2000). Among his latest works, particularly noteworthy are ambitious projects such as the Poly Theatre in Shanghai, a building consisting of a reinforced concrete box, enveloped by a glazed lattice skin, and perforated by steel tunnels lined with aluminium panels, which have a wood-like finish. A building that preserves the essence of Tadao Ando's work, but developed using more modern techniques.

"Ben", BEN VAUTIER (Naples, 1935)."Life is competition", 1992, from the Olympic Centennial Suite.Silkscreen on 270 gsm Vélin d'Arches paper, copy 138/250.Signed and justified by hand.Size: 63 x 90 cm.Benjamin Vautier has been, as well as a visual artist, a public agitator and art critic, interested in social vindication and multiculturalism. For him, all art must mean a shock, produce an intense emotion or reaction, and be novel. Although he was born in Naples, he spent his childhood in Naples, Turkey, Egypt, Greece and Italy. In 1949 he moved to Nice, where he spent most of his career. His contact in Nice with artists such as Fontan, Malaval, Klein and Arman was fundamental in shaping his style. In the 1960s he travelled to New York where he took part in the actions of the Fluxus group. His work would also become impregnated with conceptualism and minimalism, essential in his conception of art, which for him is not a purpose but a vehicle, a form of communication.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial trends, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990)."Characters".Ink and pencil on paper.Unsigned.It shows dirt, damp, wrinkles and faults.Size: 37 x 37 cm; 60 x 60 cm (frame).Joan Brotat studied at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona. He held his first exhibition on the initiative of Ángel Marsà, who invited him to take part in his Cycle of Experimental Art in 1950. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. After an initial period characterised by a modernist-influenced language and conventional subject matter, his style evolved towards a primitivism that made him very famous. Brotat adopted the viewpoint of the old Catalan Romanesque painters to the narration of contemporary life, bringing an apparent naivety to his compositions that earned him notable success. During these years he also experimented with informalism, collage and gestural art within the Dau al Set group. In the 1960s, when he returned to figurative art, his style became consolidated, characterised by figures with large, melancholic faces, the application of colours in flat patches and the absence of perspective in his compositions. His awards include the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among others. Brotat is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Museums of Modern Art in Madrid and Alexandria and the Municipal Museum in Valls.

Modern Art Glass Mottled Flamingo & Eel figures, tallest 20cm(2)

Rover P6 complete restoration project, white paint with black vinyl roof. The original brown interior is in good condition. Still has its original 2.2L engine and rare manual gearbox. The car has been stored for some time and will require some work to get it back on the road. When the Rover P6 was launched in 1963 was regarded as a state of the art saloon. It set a new standard of mass production refinement, performance and handling. Now there is good parts and specialists available, the P6 is still capable in modern traffic. 1975 Rover P6 2.2TC Needs to be seen to be appreciated. MOT and tax exempt.

Original Oil Painting by Robert Haworth, aka 'The Butterfly Man' modern art, colourful design.

2 large modern art prints

A mid-20th century gold and diamond bar brooch in Art Deco style. The open floral bar set with a central early modern round brilliant diamond and eight graduated old-cut diamonds approx. 0.70cts total, all grain and rub-over set in platinum-flashed gold, stamped '14K', 73mm long, 6.3mm wide overall, 6.6g gross. Condition Report: Condition report Overall very good condition. The diamonds measure approximately; 3.5mm , 2@ 3.1mm diameter, 2 @ 2.7mm, 4 @ 1.8mm diameter.

AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Ceria temblor", 1995.Oil on canvas.With label on the back from Fauna's Gallery (Madrid).Signed in the lower right corner.Measurements: 27 x 38 cm; 40,5 x 48,5 cm (frame).A surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.

MONTSERRAT GUDIOL COROMINA (Barcelona, 1933)."Couple", 1977.Mixed media on paper.Signed and dated in the lower right-hand corner.Size: 65,5 x 49,5 cm; 66,5 x 50,5 cm (frame).Montserrat Gudiol began in the world of art in the family studio for the restoration of medieval painting, and from 1950 she began to paint on panel and on paper. That same year she held her first individual exhibition at the Casino de Ripoll (Girona). In 1953 he took part in the group exhibition "Retrato actual" ("Current Portrait") at the Círculo Artístico in Barcelona, and the following year he made his debut abroad with a solo exhibition of drawings held at the Miami Museum (USA). That same year she took part in the collective exhibition "Pintura femenina" (C.I.C.F. of Barcelona), winning the First Prize of the Diputació de Barcelona and the Second Prize of the same organisation, San Jorge. In 1960 she took part in the National Exhibition of Fine Arts held in Barcelona, where she won a third medal, and also took part in the International Drawing Exhibition of the Ynglada Guillot Foundation (Barcelona), where she was awarded First Prize. In 1962 she held an important individual exhibition at the Sala Gaspar in Barcelona (a gallery where she would be present again from then on), and that same year she took part in a collective exhibition held at the Casón del Buen Retiro in Madrid. Since then he has continued to hold solo exhibitions and to take part in group shows, both in Spain and in Germany, South Africa, the Czech Republic, China, France, Japan, the United States, Russia and Canada. His personal exhibitions include those held at the Pieter Wenning Gallery in Johannesburg (1967), Tamenaga Gallery in Tokyo (1974), Au Molin de Vauboyen in Paris (1978), the Exhibition Hall of the Union of Painters of the USSR in Moscow (1979), the Dreiseitel Gallery in Cologne (1981) and the Walton-Gilbert Gallery in San Francisco (1984). In 1980 she produced an important monumental work for the Abbey of Montserrat, a representation of Saint Benedict. In 1981 she was the first woman to join the Royal Catalan Academy of Fine Arts of Sant Jordi, and in 1998 the Generalitat de Catalunya awarded her the Cross of Sant Jordi. She is currently represented at the MACBA, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes de Bilbao, the Museums of Modern Art in Johannesburg, San Diego, Miami and Flint (USA), the Joseph Cantor Foundation in Indianapolis (USA), the International Olympic Committee in Lausanne (Switzerland), the Monastery of Montserrat and the Royal Academy of Fine Arts of Sant Jordi.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte au compotier", 1951.Oil on canvas.Signed in the lower right corner.Provenance: Work acquired at the Art Curial gallery in Paris in June 1982.Work published in "Francisco Borés. Catalogue Raisonné. Pintura, Tomo II, 1945-1972", Hélène Dechanet, MNCARS and Fundación Telefónica, Madrid, 2003.Work exhibited in "Bores, Retrospective 1923-1972". Peintures, gouaches, dessins" 1982, Artcurial Paris, pg 28.Size: 59 x 71 cm; 63 x 76 cm (frame).This painting belongs to an extremely fertile creative period for Bores. Even though he was already an internationally recognised artist in the fifties, his work, far from stagnating, continued to expand the limits between figuration and abstraction. Here we see a return to the object through the still life but without renouncing the two-dimensionality, the intellectual synthesis and the force of colour applied in planes that defined his painting.Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended the Julio Moisés Free Academy, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists. He travelled to Paris, where he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London. In 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries. In 1969 he exhibited at the Galería Theo in Madrid. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. Francisco Bores is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, the Museo de Arte Reina Sofía in Madrid, the National Museum of Fine Arts in Madrid and the National Gallery of Madrid.

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972)."Domestic Animals", 1952.Oil on canvas.Work reproduced in the catalogue raisonné Volume II. Francisco Bores, painting 1945-1972, p. 232.With informative labels on the back (Laine Lana Gallery, Biosca Gallery and Louis Carré Gallery).Signed and dated in the lower right-hand corner.Provenance: Louis Carré Gallery (Paris).Size: 38.5 x 46 cm; 61 x 69 cm (frame).A year before this work was made, Borés joined the group of artists of the Louis Carré Gallery in Paris. In the image Borés offers us a scene made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, constructed by means of broad brushstrokes with energetic strokes. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of all artifice or anecdotal detail.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.

MANOLO VALDÉS (Valencia, 1942)."Queen Mariana II".Etching and aquatint intervened by the artist. Copy 45/50.Signed and justified in the lower part.Measurements: 100 x 68 cm; 124 x 91 cm (frame).The classics are a constant in Valdés' work, both the painters and the figures they have created and made iconic. In this particular case, the female figure in the scene is shown without a face, although her clothing and silhouette bring the viewer closer to the work of Velázquez. The handkerchief she holds in her hand opens up a universe of colour in which the work "Las Meninas", painted by Picasso in 1957 and currently part of the collection of the Picasso Museum in Barcelona, is recreated. In such a way that Valdés places himself before the spectator, as heir to the Spanish artistic tradition and successor to the great painters; Velázquez, Picasso and Valdés. The endless iconographic possibilities offered by Diego Velázquez's canvases are demonstrated in the work in question. As its name suggests, in the series "Queen Mariana as a pretext" Valdés uses the famous painting "Queen Mariana of Austria" (painted by the Sevillian painter between 1652 and 1653) to adapt it to works by avant-garde artists: Miró, Malevich, Klee and Braque, among others, make this series a true declaration of intent by the Valencian artist, vindicating the role of the great traditional and modern painters in the evolution of the history of art.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal of the International Festival of Fine Arts, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Twilight".Oil on canvas.Signed in the lower left corner.Work exhibited at the Witcomb Salon in Buenos Aires, 1930. Referenced in the catalogue of the exhibition with n.84.Measurements: 91 x 91 cm; 112 x 112 cm (frame).This is a type of composition that Valentín Zubiaurre used repeatedly, and which here manages to express a genuine feeling: with the members of a family in the foreground (in this case, a grandmother and her grandchildren) and the Basque landscape opening up behind them, with fields, farmhouses and rocky outlines. In the self-absorbed faces, the contrast between the smoothness of the young faces and the aged skin of the old woman stands out. The ochre and sienna tones dominate the whole, lending the painting a melancholy patina. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, with the development of an art with a Romantic, costumbrista and realist heritage, which focused on depicting subjects and characters that reflected a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

AGAPIT VALLMITJANA I ABARCA (Barcelona, 1850 - 1915)."Lioness with her cubs".Patinated terracotta.Signed.Presents some breakage and restorations.Size: 33 x 60 x 28 cm.Son of the also sculptor Venanci Vallmitjana i Barbany, and disciple of his at the School of La Llotja in Barcelona, Agapit Vallmitjana began his activity in 1883 when he opened a workshop with his father, where he also exhibited his works. He later combined his artistic activity with teaching, which he did from 1902 at La Llotja. He was known above all for his work in the animalistic genre, having produced numerous sculptural groups featuring wild animals, especially lions. He made a name for himself at the National Exhibitions of Fine Arts, being awarded third and second class medals in the 1884 and 1908 editions. He is currently represented in the National Art Museum of Catalonia, the Museum of Modern Art in Madrid, the Diocesan Museum of Barcelona and the Palace of the Generalitat de Catalunya, and has public monuments in Barcelona, Madrid and Valencia.

RICARD CANALS LLAMBÍ (Barcelona, 1876 - 1931)."Cadaqués, Costa Brava".Oil on canvas.Signed in the lower right corner. Titled on the back.Size: 24 x 33 cm; 38 x 47 cm (frame).Ricard Canals was a painter, draughtsman and engraver, member of the "Colla del Safrà" (Saffron Group, so called because of its peculiar chromatic palette) together with the painters Nonell, Mir, Pichot and Vallmitjana. He began his studies at the La Lonja School in Barcelona, but abandoned them shortly afterwards to continue painting in the street. A friend of Isidre Nonell, in 1896 they travelled together to Caldes de Boí, and the following year they moved to Paris. In the French capital they both exhibited at the Chez Dosbourg gallery with great success. Nonell returned to Barcelona and Canals stayed on to work for the dealer Durand-Ruel, the dealer of the Impressionists, representing artists such as Corot, Monet and Pissarro. He was a personal friend of Picasso at this time, who portrayed his wife. He took part in the French Salons of 1897 and 1898, as well as in the exhibition held in 1902 at the Durand-Ruel gallery in New York. In 1907 he returned permanently to Barcelona, where he presided over the association Las Artes y los Artistas. From then on he made several trips around Spain, visiting Madrid, Seville and Granada. From then on his works had a distinctly Spanish flavour, combined with his modern language. It was precisely this Spanish theme that brought him his greatest success in Paris, although in his later years he evolved towards a style of painting closer to noucentisme. He also distinguished himself as a portraitist. His last important work, before his premature death, was the decoration of the ceiling of one of the halls of Barcelona City Hall. In 1933, two years after his death, the Sala Parés in Barcelona held an extensive exhibition in homage to him. Much of his work is kept in the National Art Museum of Catalonia, but it is also in the collections of the Abbey of Montserrat, the Thyssen-Bornemisza Museum and the National Museum of Fine Arts in Chile.

An Art Deco silver strut photo frame with engine turned decoration, Birmingham 1928, overall 20 by 25.5cms; together with a modern silver strut photo frame, overall 19 by 26.5cms (2).

MONTEGRAPPA FOUNTAIN PEN "VATICAN PAPAL".Silver embossed and rose gold-plated barrel.Limited edition. Exemplary 410/476.Two-tone gold nib. Tip M.Screw cap. Piston loading.No box.Dimensions: 14 cm in length, 14 mm. in diameter.Uniquely captures the essence of the last two millennia by depicting the origin of this recorded time. Through the use of intricate engravings, it celebrates and commemorates the basis of the calendar by which we have achieved and marked this milestone.This numbered limited edition bears the signature of Pope John Paul II and the seal celebrating the Great Jubilee. The body and cap are overlaid with hand-engraved sterling silver 1.In a tapestry of images, hand-engraved into the precious metals of the cap and body of the pen, are the cherished values and images of the church.Turning the cap counterclockwise from the clip reveals the unmistakable silhouette of St Peter's Basilica. The name of the engraver's workshop is accompanied by the pen's serial number. An exclusive image of Pope John Paul II in front of the Holy Door at the opening of the Great Jubilee of the Year 2000 is central to the design of the cap, followed by the official logo of the Great Jubilee Celebrations of the Year 2000.Below the logo, the Latin inscription reads "PER CHRISTVM - IN SPIRITV SANCTO - AD DEVM PATREM" (FOR CHRIST - IN THE HOLY SPIRIT - TO GOD THE FATHER), quoted from the Apostolic Letter "Incarnationis Mysterium". The lower part of the cap proudly bears the signature of the Holy Father, Joannes Paulus II, who stamps this edition.The body presents the Holy Trinity: God the Father (top), Jesus Christ (centre) between Mary and John, the Holy Spirit represented by a dove (bottom). A multitude of angels surround the Holy Trinity, and the four angels near the dove hold the Gospels.Technically, the Papal Pen represents the latest advances in modern technology. It features a two-tone nib crafted in solid 18k gold, tastefully engraved to reproduce the keys of St. Peter's Basilica, masked platinum and an iridium tip for smooth writing.These piston-fed fountain pens employ a state-of-the-art ink feed system using hand-turned ebonite for uninterrupted ink flow, complemented by a high-capacity ink reservoir.

JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990).Untitled.Set of three serigraphs on paper.Edition of 25 copies.Signed and justified.Slight damp stains.Measurements: 38 x 41 cm (total of the largest).Joan Brotat studied at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona. He held his first exhibition on the initiative of Ángel Marsà, who invited him to take part in his Cycle of Experimental Art in 1950. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. After an initial period characterised by a modernist-influenced language and conventional subject matter, his style evolved towards a primitivism that made him very famous. Brotat adopted the viewpoint of the old Catalan Romanesque painters to the narration of contemporary life, bringing an apparent naivety to his compositions that earned him notable success. During these years he also experimented with informalism, collage and gestural art within the Dau al Set group. In the 1960s, when he returned to figurative art, his style became consolidated, characterised by figures with large, melancholic faces, the application of colours in flat patches and the absence of perspective in his compositions. His awards include the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among others. Brotat is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Museums of Modern Art in Madrid and Alexandria and the Municipal Museum in Valls.

Karl Hagedorn (British 1889-1969) The Villa Malcontenta - Venice, watercolour and ink. Image size 13'' x 20'' approx (33 cm x 50 cm). Signed and dated 1958 lower right (dated to reverse of image August 23rd). Exhibited at Society of Modern Painters Royal Academy and New English Art Club. Good original colour.

A collection of vintage costume jewellery, red glass and plated metal 50cm bead necklace; 1930's top hat and cane bar brooch; Deco 40mm wooden dress clip another in suede; two mirror glass clips; modern Perspex glitter bangle; 30mm wide green bangle; 1940's red enamel and paste duette dress clip, 70mm; Art Deco brooch with green marbled panel and Bakelite rods 55mm; wooden brooch with barbola crinoline lady; celluloid huntsman brooch going over chrome jump and other pieces.Qty: 26

MATTEO MAURO, (Catania, Sicily, 1992)."She", 2020.Resin sculpture.Finished with gold and white satin varnish.Limited edition of 190/200.The work will be available approximately 15 days after payment has been made.Dimensions: 25 x 10 x 10 cm.Matteo Mauro observes and explores the world with the eyes of an artist. He looks for new solutions and embraces old ones in his infinite mediation between reality and dreams. His artistic process mixes analogue and digital tools to generate artworks with a distinctly contemporary sensibility, which critics have deemed hyper-contemporary. Matteo Mauro's studio creates a wide range of artworks, including sculptures, paintings, video art, installations and augmented reality pieces.The artist was born in Sicily, but has lived and travelled in many countries. He spent more than a decade in London, where he first established his artistic practice and continues to live today. Mauro has worked and studied with several influential designers, including Ron Arad and Isaie Bloch, and has taught Digital Communication at London's LSBU and UCL universities.Mauro has received numerous awards for his work, including the Master of Art 2018 and the European Excellence of Arts and International Van Gogh Prize, awarded by Roy Dalí, son of Salvador Dalí.His pieces have been exhibited in several museums and galleries, including the Royal Academy of Arts, the Museo Marte, the Museo della Fabbrica, Le Salon des Indépendants at the Grand Palais in Paris, the Ing-Creatives in Dubai, the Songyang Museum Contemporary Art, the Fondazione Museo Crocetti, while some exhibitions are scheduled at the Datong Art Museum and the MACAM Modern and Contemporary Art Museum in the near future.However, Matteo Mauro does not limit himself to painting or creating artworks, but is also the author of the worldwide distributed book Inscripciones Micromegálicas. Matteo Mauro's studio is currently located in Catania, Italy.

RAFAEL CANOGAR GÓMEZ (Toledo, 1935).Untitled".Mixed media on paper glued on panel.Signed in the lower left corner.Size: 18 x 14 cm; 40 x 36 cm (frame).Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon entering the path of abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a visiting professor at Milles College California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. Canogar has given workshops and lectures in several European and American countries, and has participated in juries of international prizes and biennials. He has also been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the Sofia International Painting Triennial (1982), the National Prize for the Plastic Arts in Madrid (1982), etc. He has also been named Chevalier de l'Ordre des Artes et Lettres of France, has received the Encomienda de la Orden de Isabel la Católica, is a numerary member of the Academia de San Fernando and Doctor Honoris Causa by the U.N.E.D. Canogar is currently represented in the most important modern art collections around the world, such as the Museo Reina Sofía, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Museo Rufino Tamayo in Mexico and the Chicago Art Institute, among many others.

"ZUSH"; ALBERTO PORTA (Barcelona, 1946)."Ecuvru", 2006.Mixed media on paper.Signed "EVRU" and dated on the back.Size: 36 x 34 cm; 45 x 44 cm (frame).Zush was Alberto Porta's artistic alter ego between 1968 and 2001, the year in which Evru, his new character, was born. Defined by himself as ArtCieMist, artist, scientist and mystic, he trained as a self-taught artist and exhibited for the first time in 1968. That same year he created his own state, an alternative conception of reality called Evrugo, with its own elements and an alphabet of his own invention. In 1975 he received a scholarship from the Juan March Foundation and J. W. Fullbright to study at the Massachusetts Institute of Technology, where he was introduced to the use of new technologies. From the 1970s onwards he took part in solo and group exhibitions that made him internationally known. Some of these exhibitions were Documenta in Kassel (1977), "New images of Spain" (Guggenheim, New York, 1980), "Les magiciens de la Terre" (Centre Georges Pompidou, Paris, 1989), "Drawing on chance" (MOMA, New York, 1995), "Zush Tecura" (MACBA, Barcelona, 2000) and his retrospective organised in 2000 by the Museo Nacional Centro de Arte Reina Sofía. That same year he was awarded the City of Barcelona Prize for the Plastic Arts. He has participated in different editions of the Cologne and Chicago art fairs, and in all the editions of the Basel fair. In his new phase as Evru, in 2004, he presented the exhibition "From Zush to Evru: the second reincarnation" at the Haim Chanin Gallery in New York. His work can be found in public and private collections all over the world, including the Museum of Modern Art and the Guggenheim in New York, the Centro de Arte Reina Sofía, the Museo de Arte Contemporáneo in Barcelona, the Museo de Arte Moderno in Valencia and the Centre Georges Pompidou in Paris, among many others.

JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled. Series "19 Flying Machines", 2000.Mixed media on paper (original work) and engraving.Signed both in the lower margin.Measurements: 29,5 x 42 cm.Painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes de Barcelona. He made his individual debut in 1981, at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in the same city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction cease to be opposing categories. Riera i Aragó is currently represented at the MACBA, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

EDUARDO ARRANZ BRAVO (Barcelona, 1941)."Face", 1986.Mixed media on paper.Signed and dated in the lower left corner.Size: 50 x 50 cm; 53 x 53 cm (frame).Eduardo Arranz Bravo trained at the Sant Jordi School of Fine Arts in Barcelona between 1959 and 1962. He made his solo debut in 1961, at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was the one organised by the Barcelona Athenaeum in 1961. Between 1968 and 1970 he formed part of the group made up of Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint and solo exhibitions. His contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has held exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art in São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His prizes include the II Bienal Internacional del Deporte, the figure award of the Bienal Estrada Saladich, and the Ynglada-Guillot drawing prize. His work can be found in the Reina Sofía Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.

KEITH HARING (Pennsylvania, 1958- New York, 1990)."Luna Luna: a poetic extravaganza", 1986.Pop up. Offset on cardboard. Edition of 200 copies.Publisher: Luna Luna Freizei Hanlagen GMBH and Neve Revue, Hamburg, Germany.Size: 30,6 x 60,8 x 24 cm (open).Keith Haring was an American artist whose pop art and graffiti grew out of the street culture of New York City in the 1980s. Haring's work grew in popularity through his spontaneous drawings on the New York City underground in chalk on black and white advertising space backgrounds. After achieving public recognition, he created large-scale works as murals, and his later work often addressed political and social issues, especially homosexuality and AIDS, through his own iconography. Today Haring's work is held in major private and public collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York City; Los Angeles County Museum of Art; the Art Institute of Chicago; the Bass Museum in Miami; Musée d'Art Moderne de la Ville de Paris; the Ludwig Museum in Cologne; and the Stedelijk Museum in Amsterdam. He also created a wide variety of public works, including the infirmary at Children's Village in Dobbs Ferry, New York, and the second-floor men's room at the Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan, which was later transformed into an office and became known as the Keith Haring Room. In January 2019 an exhibition called "Keith Haring New York" opened at New York Law School in the main building of its Tribeca campus.

FRANCISCO FARRERAS RICART (Barcelona, 1927)."60". 1975.Mixed media on paper.Signed in the lower margin.Label of the Juana Mordó Gallery, Madrid, on the back.Measurements 34 x 33 cm ; 61 x 61 cm (frame).Francisco Farreras began his artistic activity at an early age under the guidance of the painter Antonio Gómez Cano and Mariano de Cossío, at the School of Arts and Crafts in Santa Cruz de Tenerife. In 1943 he settled in Madrid as a disciple of Vázquez Díaz, and studied Fine Arts at the San Fernando School in Madrid, obtaining the title of Professor of Drawing in 1949. In 1951 he was selected for the I Bienal Hispanoamericana, and two years later he travelled to Paris, where he came into contact with geometric abstraction. Between 1952 and 1954 he made several study trips to Paris, Belgium and Holland. It was in 1954 that he began his professional artistic career, taking part in many group exhibitions and beginning to hold personal exhibitions both in Spain and abroad. In 1966 he moved back to Madrid, after living in the United States for several years. During these years he was selected by the Modern Art Museum and the Guggenheim Museum in New York, as well as by the Tate Gallery in London, to be included in their exhibitions of Spanish painting. In 1982 he commissioned a large collage mural for Madrid airport. His retrospective exhibitions include the one at the Centro Cultural de la Villa in Madrid (1999), and his work has been shown at the Museo Reina Sofía in Madrid, the Tate Gallery in London, the Carnegie Institute in Los Angeles, the Haags Museum in The Hague, the Hamilton in Toronto, the McNay in San Antonio, Texas, the Moderne in Stockholm, the National Museums of Modern Art in Paris, Helsinki, Madrid, Seville and Tokyo, the Guggenheim in New York and the Museo de Bellas Artes in Bilbao, among many others.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Plátanos (nº2)", 1980.Mixed media on paper.Signed, dated and titled in the lower left corner.Size: 45,5 x 61 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. After spending some time between Madrid and Germany, he moved to Barcelona in 1977. In 1979 he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 2003, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled, 1990.Ink on silk paper.Signed and dated in the lower right corner.Provenance: Private collection.Size: 90 x 60 cm; 109 x 79 cm (frame).After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009).White series-5."Red Penya" 1984.Mixed media and on paper.Signed and dated in the lower left corner. Signed, titled and dated on the back.Provenance: Private collection.Measurements: 64 x 49 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled.Lithograph, copy 22/75.Signed and numbered by hand.Size: 77 x 143 cm; 94 x 162 cm (frame).Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly appreciated internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, his paintings show how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

RICARDO RODRIGUEZ, (Valencia, 1992)."3G".Oil on canvas adhered to board.Size: 146 x 114 cm.Ricardo Rodriguez's beginnings in the artistic field started in his childhood thanks to his grandmother Presen Rodriguez, one of the most important designers in Valencia. His aptitudes for drawing and painting are remarkable, and he also managed to forge his own personality and language. Her inspiration comes from the contemporary world, from the present day, although, on occasions, she decides to look back in the history of art to come up with creations such as the one in this lot. "3G", a very modern title for a work that draws on the classical past rescued in the 18th century by Antonio Canova with "The Three Graces". The almost essential part of the composition, its facial expressions, movements and the relationship between them, is rescued from the sculptural ensemble. The cold texture of the marble becomes latent in this representation in which the three daughters of Zeus and Eurynome: Euphrosine, Aglaya and Talia, have been captured in a delicate and graceful manner.

FRANCISCO FARRERAS RICART (Barcelona, 1927)."673A", 2005.Mixed media on panel.With Van Dyck Gallery label on the back.Signed, dated and titled on the back.Size: 31.5 x 35.5 cm; 38 x 42 cm (frame).Francisco Farreras Ricart began to develop his artistic vocation at a young age thanks, at least at first, to Antonio Gómez Cano de Murcia and Mariano Cossío, when he began to study at the School of Arts and Crafts in Santa Cruz de Tenerife. He continued his apprenticeship at the San Fernando School in Madrid, where he obtained the title of Professor of Drawing in 1949, and in Paris, Belgium and Holland thanks to his study trips. At the end of the 1950s his style was geometric, using thick materials; later, when he discovered silk paper, he developed the possibilities of this material, especially with a large number of collages, and his work has been exhibited, since 1954 when he began his professional artistic career, in numerous cities both in Spain and abroad (Madrid, New York, Munich, Logroño, Gijón, Elche, Lisbon, Oporto, Alicante, Berlin, Buenos Aires, Granada, Lahr in Germany, Mallorca, Geneva, California, etc.). It is also held in numerous private collections around the world and in institutions such as the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Carnegie Institute of Pittsburgh in Pennsylvania, the Centro de Arte Contemporáneo de Almada in Portugal, the Honolulu Academy of the Arts in Hawaii, the Chaux de Fonds Museum of Fine Arts in Switzerland, the National Museum of Modern Art in Paris, the Museum of Contemporary Art in Madrid, the Museum of Fine Arts in Bilbao, the Patio Herreriano Museum in Valladolid, the Vienna Museum of the 20th Century in Austria, etc.

2017 Aston Martin DB9 GT Volante Registration no. not registered Chassis no. SCFFDAFM3HGB17559•Historic last-of-the-line model•Built to Swiss specifications•Believed one owner from new•Offered from storage•Circa 100km on the odometerFootnotes:'The Aston Martin DB9 is a thoroughbred sports car with GT levels of comfort and refinement. Combining Aston Martin's unique character with an uncompromising design philosophy, the DB9 was borne out of a synthesis of traditional craftsmanship, high-tech manufacturing, modern components and use of the finest materials.' - Aston Martin.Launched in 2003 as successor to the DB7, the DB9 was the first model to be built at Aston Martin's new factory at Gaydon, Warwickshire. Like its predecessor, the DB9 was styled by Ian Callum, with finishing touches applied by Henrik Fisker. State-of-the-art manufacturing techniques were employed in making the aluminium/composite body, which was robotically assembled using a combination of self-piercing rivets and adhesive. Although some 25% lighter than that of the DB7, this advanced bodyshell possesses double the structural stiffness. The DB9 was powered by a development of the 5.9-litre, 48-valve, V12 engine found in the DB7 Vantage producing 470bhp, an output sufficient to propel the aerodynamic coupé to a top speed of 306km/h (190mph) with 60mph attainable from a standing start in a neck-snapping 4.8 seconds. The aluminium engine was mounted as far back as possible in the chassis, while the transmission/final drive was positioned ahead of the rear axle, resulting in 85% of the car's mass being sited between the axles and a perfect 50/50 front/rear weight distribution. Transmission options were a six-speed manual or six-speed 'Touchtronic 2' semi-automatic.Inside the DB9 one finds the typically elegant, luxurious and supremely comfortable hand crafted interior traditionally associated with Aston Martin, featuring primarily wood and leather trim as well as the latest in modern technology, subtly deployed. Although scheduled for a slightly higher production level than previous Aston Martins, the DB9 remained an exclusive product affordable only by a privileged few. Its price at launch was £111,000, with the Volante some £14,000 more. After a dozen-or-so years in production, the DB9 bowed out with its final edition: the DB9 GT. Introduced in 2015, the GT had a power output of 540bhp and maximum torque of 457lb/ft; acceleration times improved marginally while the DB9's top speed remained unchanged. Production ceased in 2016.Believed owned from new by the current vendor, this DB9 GT Volante was built for the Swiss market and left the factory finished in Cumberland Grey with Bitter Chocolate interior trim. Kept in storage, the Aston comes with a scan of an old Middle-Eastern registration document and will require re-commissioning before further use.Please note that if this vehicle is to stay in the UK, it will be subject to Import VAT at the standard rate of 20% and Import Duty at 10% (plus VAT) on the hammer price. The administration for clearing customs is called a NOVA (Notification of Vehicle Arrival) and costs £350 (plus VAT). Both the Import VAT and NOVA charge will be added to the buyer's invoice. Please note that this fee does not include registering the vehicle in the UK. This vehicle will not be available for immediate collection after the sale and will only be released once customs is cleared. If you have any questions regarding customs, please contact the Motorcar Department.Please note that this vehicle is only offered with a photocopy of its old registration document, bidders should satisfy themselves as to registration requirements in their own jurisdiction. Please contact the department for further information.Lot to be sold without reserve.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

NATALIA GONTCHAROVA , LADYJINO, 1881 - PARIS, 1962At the caféOil on canvas 67.5 x 57 cmThis couple seated at the terrace of a café offers us a scene of seduction in which the man, in a hurry, spouts off a speech in the ear of a woman who lends him an attentive ear but a dubious pout. Behind them, the massive silhouette of a waiter dominates them and seems to be watching them from the corner of his eye. Bordering on caricature, Natalia Goncharova captures her contemporaries in their daily lives, lending them mimicry as if they were performing a play. Without being moral, the scene is part of the tradition of the genre scene, which captures some everyday moment by exacerbating it. Here the man, whose boater is placed on the table, belongs to the bourgeoisie, as his elegant suit attests. The woman, on the other hand, is a commoner with a simple outfit and a kerchief tied over her shoulders which probably covered her head. The waiter's kossovorotka, a white shirt, also shows that we are in Russia. The silhouettes of the protagonists are drawn in broad strokes against an almost abstract background where the painter's touch is omnipresent, diffracting the space into a patchwork of colours that become almost motifs. Organised in alternating clusters of hatchings, the blues, greys and whites occupy the upper air space of the composition, while a cameo of yellow ochres evokes the earthy aspect of the ground. The space is thus more symbolic than topographical, where the straight tree on the left is a sign that the scene takes place outdoors. Taking up the codes of medieval icon painting, which she appropriated, Goncharova here experiments with a radical simplification of space that would lead her to rayonism. Natalia Goncharova (1881-1962) was a Russian painter who became a naturalized French citizen in 1939. Educated in Moscow, she devoted herself to painting after meeting Michel Larionov (1881-1964), who became her husband. From 1907, after impressionist and cubist experiments, she developed a personal neo-primitive style, strongly influenced by icons and popular Russian imagery (loubok). Religious and peasant themes thus permeate her work. In 1906, she took part in the Russian art exhibition organised by Serge de Diaghilev (1872-1929) at the Salon d'Automne in Paris, and then, in December 1909, with Larionov, launched neo-primitivism at the third Golden Fleece exhibition. Always in the avant-garde, she took part in the Futurist movement (1911), then in the creation of Rayonism (1912-1913), a non-figurative movement whose manifesto they would write. Present on the entire European scene, Goncharova exhibited for the Blaue Reiter in Munich in 1912, then at the Der Sturm gallery in Berlin. In 1913, a major retrospective exhibition was held in Moscow, with a catalogue of nearly 700 numbers, and in 1914 she exhibited at the Salon des Indépendants in Paris, alongside Larionov, Alexandra Exter (1882-1949) and Georges Yakoulov (1884-1928). It was also in 1914 that she produced the series of lithographs entitled Mystical Images of War and created the sets for Rimsky-Korsakov's Golden Cockerel for the Ballets Russes. She exhibited with Larionov at the Paul Guillaume Gallery, with a preface to the catalogue by Guillaume Apollinaire. In 1918, she settled permanently in Paris with Larionov and became one of the main painters for Diaghilev's Ballets Russes, for whom she designed the sets for Stravinsky's Les Noces (1882-1971), as well as for Ida Rubinstein (1885-1960) and her Ballets Russes de Monte-Carlo. A painter of the Paris School, Goncharova was also a member of the Salon d'Automne since 1921, and regularly participated in the Salon des Tuileries and the Salon des Indépendants. Although the war and post-war period was a difficult one for Goncharova and Larionov, it was in 1954, on the occasion of Diaghilev's major retrospectives in London, that they regained their fame. The Musée d'Art Moderne de la Ville de Paris devoted a retrospective to them after their death. In 2019, the Tate Modern in London will hold the first retrospective solely on his work.Provenance: Private collection Certificate: Jean Chauvelin, Paris. Signatur: Signed lower left in Latin 'N. Gontacharova'

An Art Deco diamond fan ring, unmarked gold settings with modern round brilliant-cut diamonds, total diamond content approx 0.45ct, setting height 21.4mm, size J, 3gNo damage or repairs, all stones present, diamonds bright white and fiery, settings slightly worn mainly on back of shank, unmarked

Miles, W. J. Modern Practical Farriery, A Complete System of the Veterinary Art, London: Gresham, [c. 1880]. Quarto, publisher's pictorial cloth lettered in gilt, illustrated with colour lithographic plates and wood-engravings. Good, clean, bright, lacking front free endpaper. Together with A History of the Meynell Hounds and Country 1780 to 1901, by J. L. Randall, in two volumes, London: Sampson Low, 1901, octavo, publisher's ribbed red cloth, contents good and bright, remnants of ownership label on front pastedowns, some discolouration/marks & slight wear to cloth (3)

Hendrik Goltzius - Magician Demogorgon in Cave of Eternity Oval Chiaroscuro woodcut from three blocks: The Magician; Demogorgon in the Cave of Eternity; he sits writing on a tablet and holding a wand with smoke coming out of his mouth; next to him is a serpent biting its tail symbolizing eternity, the Ouroboros, and a bubble containing a multi-breasted woman (Nature / Diana of Ephesus), with a hand pump spraying animals and plants . The subject is linked to the esoteric and alchemic tradition prevalent in the sixteenth century. Considered as the most accomplished chiaroscuro by Goltzius 35,00 x 26,50 cm Complete with the oval borderline. Flattened middle fold reinforced at backside. A very good well inked impression of this rare important chiaroscuro in very good condition. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (294b) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (374) --- Hirschmann 1921 / Hendrik Goltzius, Verzeichnis des graphischen Werkes (374) --- Strauss 1977 / Hendrik Goltzius: the complete engravings and woodcuts (418) --- Bartsch / Le Peintre graveur (III.73.238) --- Literature: N. Bialler, 'Chiaroscuro woodcuts: Hendrick Goltzius and his time', Rijksmuseum Amsterdam and Cleveland Museum of Art, ex.cat., 1993, no.26b; --- Susan Dackerman et al., 'Prints and the Pursuit of Knowledge in Early Modern Europe', Yale UP, 2011, cat.no.97 Chiaroscuro woodcut 1588