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A modern Scandinavian iridescent glass vase of squat form, signed indistinctly, diameter 15cm; other Art glassware & pottery

After Henri Matisse Colour poster printStill life of magnolia, Henri Matisse Retrospective Exhibition Immunity of a Modern Art, New York 

* John Forrester [1922-2002]-House and Boats, St Ives,:-pencil drawing over white gesso on paper25 x 20cm.* Exhibited. Royal Albert Memorial Museum, Exeter, Modern Art 1960

A bronze medallion Art. Comes De Wellington, in oak frame, ten ships and other plaques, a quantity of modern badges and miscellaneous items.

KYLIE MINOGUE/ SOPHIE ELLIS-BEXTOR - LP/ CD BOX SETS. A superb collection of 7 LP/ CD box sets by 2 modern legends of pop music. Kylie Minogue titles include Let's Get To It (KYLIE4X, 2015 Limited Edition set includes LP picture disc, 2x CD, 1x DVD, poster and booklet), Rhythm Of Love (KYLIE3X, Set contains LP picture disc, 2x CD, 1x DVD, poster and booklet), Kiss Me Once (825646328048, 2014 Limited Numbered set No: 150/3500. Set contains Double LP, CD album with bonus tracks, 5x 12" art prints, a hand-numbered life-size kylie ‘lip print’, sticker sheet containing 1 large ‘Kiss Me Once’ lip graphic and ‘faux-window’ featuring 3D printed water droplets, enabling you to playfully recreate the ‘Kiss Me Once’ album cover), K25 Time Capsule (531054255, Limited Edition 25x mini-CD set), Kylie (KYLIE1X), Enjoy Yourself (KYLIE2X) & Sophie Ellis-Bextor - The Song Diaries (Signed on the box lid. Contains double LP CD and assorted memorabilia). All sets appear to be in Ex/ Like new condition.

INDIE/ ALT - MODERN/ SEALED LPs. A fabulous selection of 5 modern/ sealed LPs. Artists/ titles inclue Placebo - A Place For Us To Dream (APFUTDBS, 4 LP black vinyl box set with a booklet), Buena Vista Social Club - S/T (WCV050BOX, 25th Anniversary Edition includes the original album remastered on double LP and CD. A bonus CD of unheard material, a book and 1 12x12" art prints), Coldplay inc Parachutes (0190295182502, 20th Anniversary Edition), Music Of The Spheres (0190296608384, die-cut cover) & Rush - Vapor Trails Remixed (8122796441, 2013 remixed version on double vinyl). All are superb M/ Sealed.

INTERNATIONAL/ FOLK - LPs. A superb selection of 56 international/ folk LPs, including a smattering of modern pressings. Artists/ titles include Apala Groups In Nigeria 1967-70 (SJR LP440, M/ Sealed), Afel Bocoum - Linde (WCV095, M/ Sealed), Jilala (RFR003, M/ Sealed), Bab L'Bluz - Nayda! (LPRW229, M/ Sealed), Les Amazones D'Afrique - Amazones Power (LPRW228, M/ Sealed), Dr. Boogie Presents Shim Sham Shimmy (M/ Sealed), Morley Loon - Northland, My Land (M/ Sealed), Little Roy Wiggins - The Fabulous Steel Guitar Artistry Of, African Moves, Edo Rinnegato, Youssou NDour, Rockin' Dopsie & The Twisters - Doin The Zydeco, Mountain Songs And Yodeling Of The Alps, Sound D'Afrique II Soukous, Under Different Skies, Zen Music, The Art Of Koto: The Music Of Japan, Kabuki, Wally Bryson - Follow His Footsteps, Menuhin/ Shankar - West Meets East. Condition is generally VG to Ex+/ M.

An original concert poster/window card advertising a date at Bournemouth Gaumont on Sunday 15th August 1965. Artists billed inc The Byrds, Them, The Art Woods, Unit 4 + 2. Measures 10 x 15". Very clean VF condition, with some annotations from printers to top margin. Printed by Electric (Modern) Printing Co. Ltd, Manchester.

A pair of Victorian green glass vases decorated with Lily of the Valley, 28cm high; a pair of Writhen purple art glass vases, 26cm high; an old ewer with writhing snake handle; a continental porcelain vase in the form of a half woman-half chickenTwo flash glass vases in good condition, the pottery figure with broken head repair. The purple glass spiralling vases in good condition. The pair of pottery cylindrical vases with wear to the gilding, otherwise good condition. The pair of green glass vases with chips to the rim and further minor chips, otherwise good condition. The art glass possibly Isle of Wight, vase with broken and restored foot rim. The Jasperware vase with some dirt and minor marks, otherwise good condition. The chicken vas with some minor marks and losses, otherwise good condition. The four sake cups modern. The soapstone Chinese sculpture modern with minor marks and knocks.

A pair of modern cut glass decanters with silver mounted rims; a pair of Rosenthal Art Deco-style candle holders; an Orrefors glass bowl, 12.5cm diameter; and a Dartington Crystal bowl, 13cm diameterAll pieces in good condition.

TWO MODERN PAPERWEIGHTS AND AN ART GLASS FISH

Modern Art Nouveau Style Silver Easel Back Photograph Frame, 5.5x4" aperture

ONE BOX OF LIGHTING, LAMPS AND GLASS SHADES, to include four large 1920s Art Deco mottled glass ceiling light shades, a 1960s yellow plastic light shade, wall lamps, a boxed, unused brass ceiling light fitting with three white glass shade, table lamps, four small oil lamps, a modern children's bedroom lamp, a modern amber glass ceiling light shade, etc (s.d) (1 box + loose)

Original vintage advertising poster for the Art of the Twenties exhibition that took place November 16, 1979 to January 22, 1980 at The Museum of Modern Art in New York, the poster features minimalist constructivism design in red, blue, black, grey and white colours, adapted from a poster designed by Edward McKnight Kauffer. Very good condition, minor creasing, minor staining. Country of issue: USA, designer: Unknown, size (cm): 99x62, year of printing: 1980.

Original vintage advertising poster for Andy Warhol: A Retrospective art exhibition that took place at The Museum of Modern Art, New York February 6-May 2, 1989, the poster features artwork by Warhol titled Mao from 1973, performed on silkscreen with ink and synthetic polymer paint on canvas. Horizontal. Good condition, pinholes, small tears on edges, minor creasing, foxing. Country of issue: USA, designer: Andy Warhol, size (cm): 56x82, year of printing: 1989.

Original vintage advertising poster for A Tribute to Arthur Freed June 20 – August 20 at the Gallery of Modern Art 2 Columbus Circle, New York by Raymond Rohauer, film curator and program director, design by an American graphic designer and illustrator Seymour Chwast (b.1931) depicting a smiling lady in a brown, yellow and orange dress sitting on the lap of a singing gentleman in a striped suit tipping a yellow hat, a green gentleman in a tuxedo and top hat, and a gentleman playing the piano at the bottom, stylised lettering set over yellow background reads – Meet me in St. Louis, For Me and My Gal, Silk Stockings, On the Town, An American in Paris, Barkleys Way, Easter Parade, Show Boat, Broadway of 1936, Gigi, Cabin in the Sky, Ziegfeld Follies. Arthur Freed (1894-1973) was an American lyricist and Hollywood film producer. Fair condition, creasing, tears, paper losses, minor staining. Country of issue: USA, designer: Seymour Chwast, size (cm): 101x75, year of printing: 1967.

A folio of various Modern Art loose prints.

An Art Deco style bronzed figure of a lady with her arms raised, standing upon a polished hardstone plinth, h.55cmModern reproduction, no damage.

A hand-painted modern papier-mâché trinket box containing various jewellery items to include:two insect brooches,an Art Nouveau-style brooch,a pair of yellow metal stud earringsa pair of silver (marked 925) stud earrings (boxed)and a pair of 9-carat gold and sapphire stud earrings (boxed) together with a small Chinese cinnabar lacquer box

LARGE GROUP OF FRAMED PICTURES, mainly oil paintings (the residual of a good collection of British 20th Century / Modern art)Please note that there are no condition reports available on this lot, viewers must examine in person

LUIS FEITO (Madrid, 1929-2021)."1873", 1999.Acrylic on canvas.Signed, dated and titled on the back.Enclosed certificate issued by the artist.Measurements: 81 x 65 cm; 88,5 x 72 cm (frame).This acrylic on canvas belongs to one of Feito's last artistic stages. At the beginning of the 2000's the author showed a change with respect to his painting, being a period in which he relaxed his aesthetic work with the strictest geometry, to introduce a more expressive language, where the gesture and the randomness took centre stage with respect to the sobriety of the geometric forms.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first solo exhibition of non-figurative works at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Sta Sinfonia Beethoven". 1995.Mixed media on paper.Signed, dated and titled in the left margin.Enclosed certificate of authenticity issued by Ester Romero Fajardo.Measurements: 51 x 82 cm; 57 x 87 cm (frame).Painter, sculptor, 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. 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 VASARELY (Pécs, Hungary, 1906 - Paris, 1997)."Untitled", ca.1970-80.Lithograph, copy 29/90.Hand signed and numbered.Slight damageSize: 66.5 x 66.5 cm; 71 x 71 cm (frame).Syncopated geometric rhythms and patterns immerse us in a work that is completely distinctive of Vasarely's language. In it, the Franco-Hungarian artist relies on pure geometric composition to draw us into a cosmic universe, in which the dice seem to liquefy, defining the vibrant rhythm of his imagery.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a constructive and geometric type of abstract art, with an interest in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports, such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Cantabrian Women in the Forest". 1973.Mixed media on paper.Signed, dated and titled in the lower margin.Enclosed certificate of authenticity issued by Esther Romero Fajardo.Measurements: 37 x 54 cm; 55 x 75 cm (frame).Painter, sculptor, 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. 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.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled", 1976.Drawing for Luis Goytisolo's book "Eyes, circles, owls".Ink and felt-tip pen on paper.Signed and dated on the back.Frame with faults.Measurements: 20.5 x 13 cm; 49.5 x 39 cm (frame).Painter and draughtsman, he trained in Barcelona, in the workshop of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Still life". 1950s.Oil on canvas.Signed in the lower right corner.Size: 20 x 40 cm; 34 x 54 cm (frame).Painter and draughtsman, he trained in Barcelona, in the workshop of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972).

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled, from the Suite "Fons de l'esser".Mixed media on paper.Signed on the back.Certificate of authenticity can be issued at the request and expense of the buyer.Size: 64 x 68 cm; 80 x 84 cm (frame).In this composition, full of cryptic emblems, Joan Ponç's imaginary is synthesised in all its splendour. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, Joan Ponç trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Suite caps", 1958-59.Ink on paper.Signed, dated and located in Brazil in the upper left-hand corner.Work published in the artist's online catalogue, n.1611. Measurements: 70 x 50 cm; 91 x 75 cm (frame).Painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled.Mixed media on paper.Signed on the back.Size: 70 x 65 cm; 95 x 88 cm (frame).In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, an incantation, something supernatural. But the great Catalan master was not only that; his art is also an exploration of the negative, an attraction to the perverse and diabolical, a reflection of a universe plagued by monstrous and evil beings, satanic and perfidious spirits, a reflection of the fascination his author felt for evil.A painter and draughtsman, Joan Ponç trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to mark his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972).

JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005)."Espai Vert", 1972.Oil on canvas.Signed in the lower right corner. Signed, dated and titled on the back.Size: 24 x 33 cm; 36 x 27 cm (frame).This work belongs to the period in which Hernández Pijuán investigated in the chromatic scales and in the studies around the light and the movement. It shows the Catalan artist's predilection for light brushstrokes, as well as the tonal gradation that characterised much of his artistic production.Joan Hernández Pijuan began his training in Barcelona, attending the La Lonja and Sant Jordi Schools of Fine Arts, before completing his education at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among Spanish artists of recent decades. The strength of his creative individuality places him on the fringes of the successive dominant trends and fashions, but does not prevent us from recognising in his work a profound identification with the aesthetic concerns of his time. Throughout his career he has produced paintings on canvas, works on paper and aquatint engravings, lithographs and other printmaking techniques. Hernández Pijuan began his career practising a tragic expressionism with a strong social charge, and at this time he formed, together with the other members of the Sílex Group, the so-called Barcelona School. In the 1970s he simplified his expression to the point of adopting a geometric and calculated figuration, a style he left behind in the following decade to focus on Informalism. His exhibition activity was as wide-ranging and diverse as his own artistic creation. Whether individually or in the company of other artists, Hernández Pijuan made a major impact in artistic circles around the world. Indeed, interest in and fascination with the painter's career continues as ever, with new exhibitions and public displays of his work. During his lifetime he had solo exhibitions in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 he was the subject of a major retrospective exhibition at the MACBA in Barcelona, which was subsequently shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museo de Arte Abstracto Español in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed member of the Real Academia de San Fernando in Madrid. In 1981 he received the Premio Nacional de Artes Plásticas, in 1985 the Cruz de Sant Jordi and, in 2004, the City of Barcelona Prize. He was also awarded the Prize of the General Directorate of Fine Arts at the National Exhibition in Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Ljubljana Print Biennial (1965), the International Print Biennial in Krakow (1966) and the "Vijesnik u Srijedu" editorial prize in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museo de Arte Abstracto Español in Cuenca, the Reina Sofía in Madrid, the Museo Patio Herreriano in Valladolid and the Museo Vasco de Arte Contemporáneo, as well as in foreign centres such as the Guggenheim Museum in New York, the Liaunig (Austria), those of Contemporary Art in Helsinki and Luxembourg, the Kulturstiftung in Bad Homburg (Austria), the Yamaguchi Gallery in Osaka (Japan), the Palace of Fine Arts in Brussels, the National Gallery in Montreal, the Museum of Modern Art in Buenos Aires and the Sztuki Museum in Lodz (Poland).

EDUARDO ARRANZ BRAVO (Barcelona, 1941)."Portrait.Oil on canvas.Signed in the lower right corner.Size: 130 x 81 cm; 134 x 84 cm (frame).Eduardo Arranz Bravo trained at the Sant Jordi School of Fine Arts in Barcelona between 1959 and 1962. He made his individual 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 had 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.

NINA MURASHKINA (Ukraine, 1985)."Triumph of Justice".2019.Acrylic paint and gold leaf on canvas.Signed.Size: 200 x 120 cm.Studied painting at Kharkiv Art Design Academy, and at the Art Academy of Jan Mateyko. Poland, Krakow (2012). Member of the National State Artists Union. Member of the Independent Artists Union (2009). LATEST EXHIBITIONS: 2017 The Art of Menschlichkeit "Nicolas Treadwell's Gallery", Vienna. 2017 "The Siren" with sculptor Xavier Escala. Penz, Russia.2016 "Black Chocolate in Gold" Glo'art Belgium. 2016 ZINE festival, Vienna.2016 solo exhibition, I am not afraid! Museum of Dreams in Kiev, Ukraine.2016 Earthly Delights Nicolas Treadwell's Gallery, Vienna.2016 Personal Exhibition The Full Moon! "Spasskaya 45" gallery, Nikolaev, Ukraine.2016 Dialoges, Lavra gallery, Kiev 2016 "KunstlersommerOttensheim 2016 "Honzik" Gallery /Aigen, Austria.2016 "KunstlersommerOttensheim 2016. RaiffeisenAvalbank /Ottensheim, Austria 2016" / Ottensheim, Austria.2016 The Heritage Modern Art Research Institute of the National Academy of Arts of Ukraine.2016 I want Love! "A3 - Gallery" Moscow.2016 "SERENDIPITY" solo exhibition "KZ" gallery, Kiev.2016 "Involved to Beauty" Mansion Uvarova Countess. Kiev.2016 Women's Art Project Exhibition in the Goverment's Hall. Kiev .2016 "Baby, please forgive me!" solo exhibition. "The Chocolate House" Kiev national museum of the Russian art. Ukraine.2016 "Women's Art Project" "The Chocolate House" Kiev national museum of the Russian art.2016 Short stories. Contemporary Artists from Ukraine, Imago Mundi project/ The catalogue presentation. "Mystetsky Arsenal Gallery" in Kiev.2016 "Ergo Sum" "Dukat Gallery"/ Kiev, Ukraine.2015 "INSPIRED BARBARA" /art - club "Atlas", Kiev, 2015 "Green Life" Modern Art Research Institute of the National Academy of Arts of Ukraine./ Kiev 2015 Shanghai International Contemporary Art Exchange Exhibition/ Cnina, Shanghai, "Chun Gallery "2015 "TOY STORY" curator project/ ArtZbirka Gallery, Kiev, Ukraine. 2015 "INSATIABLE", Contemporary Art Kiev 10./"Mystetsky Arsenal Gallery" in Kiev. 2015 "Woman Secret" curator project in the Contemporary Art Kiev project. STATEMENT: My art talks about love, pain, violence and despair, emotions that have to be intense to emerge into the conscious world. I draw on traditional art, archetypes, myths and the subconscious. All these are an inseparable part of my creativity. My favourite authors are Annette Messager, Louise Bourgeois, Francis Bacon, Antoine Watteau, Antoine Watteau.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Painting of the night". 1981.Mixed media on paper.Signed, dated and titled in the lower margin.Enclosed certificate of authenticity issued by Ester Romero Fajardo.Measurements: 114 x 83 cm.Painter, sculptor, 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.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Women of Avignon". 1980.Oil on paper adhered to wood.Signed in the lower margin.Size: 140 x 110 cm.Painter, sculptor, 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. 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 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 in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Untitled.Mixed media on paper.Signed in the lower left corner.Size: 76 x 57 cm; 101 x 71 cm (frame).In this mixed media painting on paper, Clavé superimposes realities that seem to emerge from an organic background, like spectral faces interspersed with dense brushstrokes and areas that appear to have been resolved by frottage. Thus, organic insinuations are laminated with geometrical configurations. Clavé experiments with a variety of techniques and languages, so that on the same surface, touches of spatula, gesture, expressionism and abstraction dialogue with each other. The result is an arduous dialogue with the Baroque tradition and its play of chiaroscuro. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for Charles Vidor's film "Hans Christian Andersen", and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

JULIAN SCHNABEL (Brooklyn, New York, 1951)."Olympic".Photograph with intervention.Signed and dated.Julian Schnabel originally made this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 83 x 66 cm; 108 x 90 cm (frame).One of the parts of the project sponsored by Telefónica for the promotion of the Olympics was the creation of 58 advertising posters. This project, the most ambitious in the history of the Games, was grouped into four areas or collections: official Olympic posters, photographic sports posters, designers' posters and painters' posters. In the latter, in collaboration with Daniel Giralt Miracle, 10 artists were proposed to publicise the Barcelona brand, including this work by Schnabel. However, the high degree of eroticism emanating from the composition led COOB'92 to censor it.With a practice close to expressionism, Schnabel's technique encourages objet trouvé and processes based on chance, on numerous occasions approaching sculpture and exploring new fields such as architecture and furniture. An award-winning film director (three of his films, "Basquiat", "Before Night Falls" and "The Diving Bell and the Butterfly" have won him awards at Cannes as best director, and he has been decorated or nominated at the Golden Globes, the BAFTAs, the César and the Venice International Film Festival), Julian Schnabel made his artistic breakthrough with his "plate paintings", fragments of plates, assembled and polychromed, which he created after contemplating Gaudí's mosaics in Barcelona's Park Güell. His boldness, his energetic conception of art and the novelty of his techniques and decorations made him a transgressive figure in the art world, not exempt from controversy and eccentricity. His work currently forms part of the collections of several museums around the world, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Museum of Contemporary Art (MOCA), Los Angeles, the Museo Nacional Centro de Arte Reina Sofia in Madrid and the Centre Georges Pompidou in Paris, among many others, as well as important private collections.

HERNANDO VIÑES SOTO (Paris, 1904 - 1993)."The artist in her studio".Oil on canvas.Signed in the lower right corner.Size: 73 x 92 cm; 93 x 112 cm (frame).In this work the author rescues a very recurrent theme in the history of art, which deals with the relationship between the model and the artist. In this case we are presented with a model who is also an artist, as she stands on the barely sketched canvas with the painter's palette in her hands. Aesthetically, the work is heir to Cubism, but the artist configures the different planes on the basis of fields of colour which give volume and shape the space.Born into an upper-class bourgeois family, Hernando Viñes Soto was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a disciple of Maurice Denis and Georges Desvallieres, and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). At the beginning of the 1980s, important retrospective exhibitions were held at the Casa de España in Paris, the Fine Arts Museum in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.

Riviere (Lazare, Nicholas Culpeper & Abdiah Cole). The Practice of Physick, in two volums, very much enlarged. Wherein is plainly set forth, the nature, cause, differences, and several sorts of signs: together with the cure of all diseases in the body of man. In twenty and four books. Viz. 1. Of the diseases of the head. ... 24. A physical dictionary : written in Latin, and in English / by Lazarus Riverius, counsellor and physitian to the King, &c. Nicholas Culpeper, physitian and astrologer. Abdiah Cole, doctor of physick, and W. R., 4 parts in one, London: Peter Cole, 1658, lacking the engraved frontispiece, one longitudinal title, signatures 2R1-4 (pp. 309-316), 3E2-3 (pp. 399-402) & 3G2-3 (pp. 415-418) in first part, lacking K1 (pp. 49-50), K4 (pp. 55-56), Z3 (pp. 257-258) & 3B3 (pp. 417) and part 3 title, first title laid down and repaired, a few other leaves with small repairs, some leaves shaved affecting headlines, pagination, a few lines of text at foot and signatures, a few small wormtracks and burnholes, occasional soiling and light toning, early annotations to front blank, later half calf, folio (Wing R1559A), together with [Markham, Gervaise]. The English House-Wife. Containing the inward and outward vertues which ought to be in a compleate woman...A worke generally approued, and now the fourth time much augmented, purged and made most profitable and necessary for all men, and the generall good of this Kingdome, London: Nicholas Okes for John Harison, 1631, title with woodcut printer's device, lacking A1 blank, leaves I6 & K2 replaced with modern text and laid down, M4-5 replaced with modern blank leaves, blank leaves bound after final leaf, title shaved at foot affecting last line of imprint, a few damp stains and burnholes, later half calf, a little rubbed, small 4to, (STC 17353), plus [Heresbach, Conrad]. [The Whole Art and Trade of Husbandry. Contained in foure bookes... enlarged by Barnaby Goodge, London: printed by T.S. for Richard More, 1614], main text printed in black letter, woodcut initials, lacking title (replaced with modern manuscript leaf), occasional light soiling and stains, later calf-backed boards, small 4to (STC 132)QTY: (3)NOTE:Wing R1559A; ESTC R218027 (Practice of Physick). Sold with all faults not subject to return.

Stukeley (William). Itinerarium Curiosum. Or, an Account of the Antiquitys and remarkable Curiositys in nature or art, observ'd in travels thro Great Britiain, 1st edition, London: Printed for the author, 1724, engraved frontispiece, 70 engraved plates (of 100), a few folding, armorial bookplate of 'Lucius Henry Hibbins of Gray's Inne' to front blank, inscribed to title and front blank 'Mary Sershall's book Oct 4 1783' with extensive further marginal annotations in the same ink, reverse calf pasted to front pastedown with red morocco presentation label lettered in gilt 'The gift of the author ye ingenious Dr WM Stukeley', occasional scattered spotting, a few leaves with marginal repairs (some touching text), a few quires faintly damp-stained, modern marbled boards, red morocco title label lettered in gilt, folioQTY: (1)NOTE:ESTC T99861. Provenance: Presentation copy from the author to the barrister Lucius Henry Hibbins (armorial bookplate); Mary Sershall (inscriptions to title and front blank).

Frazer (James George). The Golden Bough, 12 volumes, London: Macmillan and Co, 1914-17, frontispiece to 'The Magic Art' volume 1, half-titles, endpapers renewed, modern green half morocco gilt, 8vo, together with Symonds (John Addington). The Memoirs of Count Carlo Gozzi, 2 volumes, London: John C. Nimmo, 1890, portrait frontispiece to volume 1, plates throughout (some hand-coloured), modern green half morocco gilt, top edge gilt, 8vo, plus Benson (Arthur Christopher). The Letters of Queen Victoria, 3 volumes, London: John Murray, 1907, frontispieces to each, 4 folding genealogies to rear of volume 3, armorial bookplates of 'Joicey' to front pastedowns, lightly spotted, contemporary navy blue half morocco gilt, top edge gilt, 8voQTY: (17)

A late 19th Century engraved printing plate depicting a seated girl reading by window within an Art Nouveau style framework in the style of McIntosh, 22.5 cm x 16.5 cm CONDITION REPORTS Possibly circa 1900 but we do not believe this to be a modern repro. Has pitting to the surfaces front and back and some discolouration / patination. General wear and tear conducive with age and use - see images for further detail.Provenance - vendor was given it in 1972.

A collectors' lot to include an oak letter organiser with pen guide, a Bakelite ashtray, a modern unicorn candle snuffer, three Worcester ware Chinese-style lacquered metal trays, length of longest 41.5cm, a large porcelain Art Deco style tray, decorated in the onion pattern, 45 x 33cm, a carved wooden tray, three small penknives including one with mother of pearl body, a magnifying glass and a vintage pen (13).

Eight items of modern and vintage Art Deco pottery, mostly with drip glaze, to include Crown Devon, Beswick, Crown Ducal, etc and a modern Lorna Bailey 'Cruise' pattern cylindrical teapot (8).

Books – approx. 120 antiquarian, modern first editions, academic imprints, local interest, and others, including Davies (The Rev. D.P.), A New Historical and Descriptive View of Derbyshire, Belper: S. Mason, 1811, lacking fold-out map, illustrated with plates, 20th century brown leather gilt over marbled boards, 8vo, (1); further Derbyshire interest; Lawrence Durrell’s Avignon Quintet, first editions, London: Faber 1974-1985, pictorial dustjackets over cloth, 8vo, (5); Irish Murdoch first editions; art history and architecture, including the Renaissance, orangeries, follies, others; The Gardens of Pompeii and Herculaneum; Lewis Napier on 18th century Georgian politics; Diaries of Robert Fulke Greville, 1930, 8vo, (1); Barbellion’s Journals, (3); poetry and literature; philosophy; travel, Bruce Chatwin; antiquarianism and history; bibliography; etc., maps; mostly hardbacks, various sizes; etc., [approx. 120]

A collection of early 20th century and later Chinese and Japanese works of art, comprising a pair of cloisonne vases, both with some damage 18.5cm high, a crackled glazed ginger jar (without the cover), decorated with fighting figures, marked to the underside 11.5cm high, a porcelain blue and white vase 15.5cm high and a modern blue and white ginger jar and cover 16cm high AF (5)

INGEBORG LUNDIN (Sweden, 1921-1992) for ORREFORS. Sweden, ca. 1960Translucent blown glass.Signed on the reverse base Orrefors D. 3877/231.Wear due to use and the passage of time.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 36.5 cm (height); 18 cm (diameter).Swedish Orrefors glassware vase, circular in shape with carved geometric decoration. Designed in the 1960s by Ingeborg Lundin. Lundin studied at the Stockholm School of Art, where she also worked as a drawing teacher. She was employed at the Orrefors glassworks in 1947 as a designer, where she worked with both utilitarian and art glass.She was awarded the Lunning Prize in 1954 and a gold medal at the Milan Triennale in 1957, which brought her international fame. Lundin is represented, among others, in the National Museum in Stockholm and the Röhsska Museum.The Swedish glassworks Orrefors owes its name to the village of Småland where it was founded, a place of craft and industrial production since the 18th century. In the 20th century, the name Orrefors would become synonymous with good Swedish glass. In 1897, the merchant Johan August Samuelson bought the village's complex of smithies and sawmills and introduced glass production the following year, initially producing everyday household and medical glassware, such as bottles and jars. When Consul Johan Ekman became the new owner of Orrefors in 1913, he appointed Albert Ahlin to run the glassworks facilities. Ahlin initiated a new era in Swedish glass production when he acquired the Sandvik glassworks under the Orrefors umbrella and brought in skilled craftsmen and designers to develop new collections. In 1914, Orrefors began to manufacture glass. Soon after, master glassmakers Simon Gate and Edward Hald joined the company to design new designs and shapes, focusing on engraving and overlay techniques. They also began experimenting with the innovative Graal technique, developed at Orrefors by master glassblower Knut Bergqvist. In 1917, Gate and Hald introduced figurative engraved patterns. Orrefors' reputation for excellence spread internationally in the mid-1920s; first as a result of Orrefors' presentation at the Gothenburg Exhibition in 1923, and then through participation in the historic Exposition Internationale des Arts Décoratifs in Paris in 1925, where Orrefors and the artists themselves were awarded the Grand Prix. In 1928, the designer-artist Vicke Lindstrand joined Orrefors and introduced a more sculptural and modernist aesthetic. Following Orrefors and Lindstrand's success at the 1930 Stockholm Exhibition, the company became increasingly associated with simple, subtle forms in the post-war period. In 1946, Orrefors hired architect-designer Carl Fagerlund to expand its glass lighting offering. Over the years, Orrefors designers developed a number of new glass manufacturing techniques. Vicke Lindstrand and Edvin Öhrström introduced Ariel in the 1930s, while in the 1940s Sven Palmqvist introduced the Kraka and Ravenna techniques. Nils Landberg's slender Tulpan (1957) and Ingeborg Lundin's delicate Äpplet (1955) - both icons of mid-century modern Swedish design - were created using the Fuga technique. The 1960s are associated with Gunnar Cyrén's Pop glass, and since the 1970s, designers such as Olle Alberius, Eva Englund, Lars Hellsten, Anne Nilsson, Erika Lagerbielke and Helen Krantz have contributed to Orrefors' rich heritage.

Jugendstil Cup. Germany, ca. 1910.Blown glass.Provenance: Private collection, Spain between 1970-1990.Measurements: 19.5 cm (height); 7.5 cm (largest diameter).Jugendstil period glass, in translucent blown glass and with a greenish tone on the base. Hand-fired enamelled with vegetal decorations and borders in different colours and gilding.Depending on the country, it was known as Art Nouveau (Belgium and France), Jugendstil (Germany and Nordic countries), Sezession (Austria), Modern Style (United Kingdom), Nieuwe Kunst (Netherlands), Liberty or Floreale (Italy) and Modernismo (Spain).All refer to the intention to create a new, young, free and modern art. Generally, the forms are wavy, sinuous and colourful, usually inspired by natural forms. The pieces are generally larger and more decorative than practical.

SIX BOXES OF GLASSWARE, CERAMICS AND HOUSEHOLD ORNAMENTS to include Leonardo Collection cottages, Aynsley 'Cottage Garden' pattern trinket box, diameter 26cm, ginger jar, heart shaped trinket box, a Wade Golden Jubilee goblet, height 9.5cm, a Meissner Limoges porcelain dinette miniature soup tureen (glued finial), a Spode 'Sida & Acacia' Stafford Flowers celebration cake stand, a Wedgwood 'Sarah' pattern mantle clock, height 12cm, a Coalport 'Paradise' pattern pin dish, Coalport teacup, an Empoli style teal covered jar, height 34cm, a Carlton Ware Art Deco style dish - 1236 2 AG9/4875 4232, a St. Michael china 9185 Art Deco style tea set, a Midwinter Fashion Shape 9-63 gilt edged dish, a modern mantle clock, a boxed set of six fish knives and forks, a Hammersley HAM13698 pattern covered sugar bowl, a set of six 1970s Ravenshead bark texture aperitif glasses, a cut crystal sugar sifter, one Babycham glass, a set of six French Riems glass sundae dishes, a set of glass dessert dishes, with two serving bowls with a fruit decal, vase, decanter, etc (s.d) (6 boxes)

FIVE BOXES OF METALWARE, FRAMED PRINTS AND ORNAMENTS, to include a hand beaten stainless steel dish from the L.R.I school of industrial art Borrowdale, diameter 13cm, a set of Piquot ware, stainless steel teapot, coffee pot, milk jug, sugar bowl, a set of carved oak bellows, length 14cm (working), a mantle clock, height 30cm (no key), a copper quart jug, a pair of brass candle sticks, a set of 1940s brass Post Office scales (with weights), twelve framed pictures, a leather cased set of backgammon, playing cards, a large Indian design brass dish, tray and coffee pot, a modern graduation cap and gown with a pale blue hood, a pair of Mirador binoculars 10 x 42, a full Motor Fuel Ration book, a pack of twelve pictorial postcards of the Royal Mint, four picture postcards of Sark, a cloisonne covered pot, pewter tankard, etc (s.d) (4 boxes + loose)

A GROUP OF SIX TABLE LAMPS AND VASES, comprising three metal figural lamps, one figure is named 'Brise du Soir' Evening Breeze, height 52cm to top of brass fitting, one lamp is named 'l'Agriculture' a female farm worker, height 47cm, the other lamp is a French figurine of a woman in reeds, height 50cm, a pair of blue and cream ceramic lamps on a wooden base decorated with a Japanese mountain dwelling, height 49cm, together with five matching wheat coloured shades, height 31cm, a large blue ceramic umbrella stand, height 60cm, a modern 'oil lamp' style table lamp with cranberry coloured glass shade and reservoir on a brass base and fittings, height 53cm to top of chimney, a pair of Blush Ivory moon shaped vases, backstamp RW Rudolstadt 5977 83, height 29cm, an Art Nouveau style Blush Ivory vase, back stamp Alexandra Porcelain works Turn - Austria 5953, height 20cm, an Ivory Blush vase back stamp W&R Austria 1226, height 30cm, a tall pair of Ivory Blush jugs, back stamp 5086-31, height 42cm, a Fadecol studio pottery urn shaped pot and matching candlesticks in a green granite effect with gold impressed detail, height 27cm, candlesticks 23cm, (21) (Condition report: all appear in fair condition, lamps not tested)

FIVE CLOCKS, comprising a square Art Deco Little Boy Blue wall clock with ceramic dial marked 'Foreign', a wooden cased Smiths mantel clock of trefoil form, with Arabic numerals, a Whitehall Quartz clock and two modern desk/alarm clocks (5) (Condition report: clocks appear in good condition, mechanisms unchecked)

THREE VARIOUS SIZED MODERN WALL MIRRORS, largest mirror 101cm x 77cm, and a decorative wall art mirror (4)

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '79 image size 54cm x 75cm, overall size 75cm x 95cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '90 image size 74cm x 54cm, overall size 93cm x 71cm Mounted, framed and under glass. Provenance: The Corrymella Scott Gallery. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), THE DEPARTURE coloured etching on paper, titled label verso image size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso. Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.

A modern coloured art glass decanter set

4x Various Studio Pottery & Other Modern Art Vases inc Irish Marianne Klopp & Australian Bendigo Carol Guley

Modern Art Pottery Bust + a David Bowie Style Futurisic Head Figure

(Geb. 1939 in Wattenscheid. Seit 2007/07 ansässig in Neufelden/Österreich)Ohne TitelRunde, flach gemuldete Schale aus Edelstahl mit darüber hängendem Pendel (Lot) für eine skulpturale Rauminstallation, 1971. Im Zentrum von Rinkes künstlerischem Interesse steht der Wesenskern der Welt mit seinen physikalischen Prinzipien und Naturkräften der Elemente. Hierzu gehören, wie es in dieser Zeit vor Augen geführt wird, auch Zeit und Raum, Körper und Schwerkraft, die Prozesse von Handlung und Bewegung. Rinke studierte 1957 - 1960 an der Folkwang-Schule in Essen, 1965 wandte sich Rinke von der Malerei ab, um sich vornehmlich konzeptuellen und skulpturalen Arbeiten, Installationen und Performances zu widmen. 1974 - 2004 war Rinke Professor für Bildhauerei an der Kunstakademie in Düsseldorf. 1972 und 1977 nahm Rinke an der Biennale in Venedig sowie an der documenta in Kassel teil, 1973 stellte er im Museum of Modern Art (MoMA) in New York aus. Für den Deutschen Bundestag in Berlin schuf er die monumentale Innenhof-Skulptur "Sonnenstrahl mit Birkenhain". Altersspuren. 200 cm. Lit.: Kat. "Sammlung Ulbricht", Bonn, Graz u. Düsseldorf, 1982/83, Nr. 184, S. 112 (mit weiterer Lit.), Abb. S. 77.Die Arbeit war ab 1974 für längere Zeit Leihgabe im Kunstmuseum Düsseldorf.Provenienz: Sammlung Ulbricht/Nachlass Dr. Günter Ulbricht (1926 - 1992).Stainless steel sculpture with pendulum (plummet), 1971. Traces of age.

SANDMAN: MASTER OF DREAMS #1 - (1989 - DC) - KEY Modern Book - Pre-Vertigo - First appearance of Morpheus + appearance by Wesley Dodds, the original Golden Age-era Sandman + A Netflix TV series is due for imminent release - Neil Gaiman story, Dave McKean cover with Sam Kieth interior art - Flat/Unfolded - a photographic condition report is available on request