GEORGES DE FEURE (Paris, 1868 - 1943).Set of two Art Nouveau armchairs and three chairs, ca. 1900.Carved and gilded wood.Measurements: 110 x 67 x 54 cm (armchairs); 92 x 44 x 46 cm (chairs).Set made up of two armchairs and three chairs, designed to match with a structure in carved and gilded wood, with sinuous and stylised lines that are a nod to rococo. In fact, this language bears numerous similarities to Art Nouveau, given that, like Art Nouveau, it is an anti-classical style that seeks naturalism, movement and formal delicacy. Thus, we see seats with a light structure and flowing lines, although clearly Art Nouveau in their sinuosity and forms. Both the chairs and the armchairs stand on eminently straight legs, softened by curved lines that start from carved mouldings and unify the shape of the leg with that of the waist, seeking a unitary appearance, almost organic in character. The backrests are open, with a central paddle in the lower part, and have upholstered upholstery at the top. The top of the backrest is in the shape of a lowered "u", with a smooth, moulded profile, matching the rest of the structure. The lower panel is openwork, with flamboyant shapes that evoke the organic, the living, without being specific, which is typical of Art Nouveau. The armchairs have closed sides, with upholstered upholstery like the backrest and seat. The arm cross is slightly recessed from the waist, in the rococo manner, and is intricately carved with soft, flowing lines.Georges Joseph van Sluÿters, better known by his artistic name Georges de Feure, was the son of an influential Dutch architect living in Paris. He began his training in the book trade in The Hague, where he came into contact with Symbolism. In 1886, de Feure was one of eleven students admitted to the Rijkscademie voor Beeldende Kunsten in Amsterdam, although he soon dropped out after deciding that traditional academic training had nothing to offer him. Back in Paris in the late 1880s, he settled in Montmartre, where he frequented the Parisian bohemian life. In 1890 he became a pupil of Jules Cheret, and began to design posters for the Salon Des Cent, Loie Fuller and Thermes Liegois. During the early years of his career he acquired renown as a Symbolist painter, and Puvis de Chavannes considered him one of the most important painters of that movement. In the following decade he was also recognised as a talented poster painter and illustrated books such as Marcel Schwob's "La Porte des Réves" (1899). De Feure exhibited his paintings at the Societé Nationale in 1894, at the Salon de la Rose Croix in 1893 and 1894, and at the Munich Secession in 1896. He was also interested in design, in everything that made up the decoration of a house; he created designs for printed fabrics, porcelain, stained glass... In the 1890s he was appointed professor of decorative arts at the École des Beaux-Arts. His first commissions were illustrations and set designs, until he was finally discovered by one of the greatest art dealers in Paris at the time, Siegfried Bing. Bing became interested in him after seeing many of his paintings at the Paris Salons, as well as his illustrations in Paris newspapers and his posters. Thus in the 1890s de Feure began to abandon painting and printmaking in favour of design and the decorative arts, and as early as the 1894 Salon National des Beaux-Arts he exhibited designs for furniture and ceramics. In fact, it was around this time that he began to be known as a creator of refined and exquisite furniture for the wealthier classes. De Feure soon became one of Bing's most important designers, and Bing encouraged him to extend his talents to all areas of art and design. Although they never signed an exclusive contract, de Feure would work primarily for the art dealer, and
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Jasper Ware ornamental ceiling lamp by ETRURIA; England, 19th century.Biscuit porcelain.Size: 43,5 x 38 x 7 cm.Two-coloured biscuit porcelain soffit, with the figure in high relief of the goddess Diana, seated on a lunar crescent and accompanied by an angel, in white on a blue-grey background, typical of Wedgwood's Jasper Ware.The Etruria pottery manufactory, better known as Wedgwood, was the great neo-classical factory in England, and one of the most important of this period in Europe. It was founded by Josiah Wedgwood in 1765, and came to compete with Sèvres, even influencing the production of the great French factory. It had three main productions: Queen's Ware (cream-coloured earthenware), Basalt (black stoneware) and Jasper Ware (stoneware or biscuit porcelain), to which this panel belongs. Jasper Ware began to be produced in 1774, and are pieces inspired by the classical world, made in porcelain or biscuit stoneware imitating ancient Roman and Hellenistic cameos. As time went on, Jasper Ware would adapt to new tastes and Wedgwood would produce Romantic and Art Nouveau pieces. The first Jasper Ware pieces, made between 1774 and 1780, were made by staining the white porcelain or stoneware mass and then, after drying but before firing, applying decorative motifs moulded in white porcelain or stoneware. Finally the piece was fired, with a single firing for the base and decoration. From 1780 onwards, a second, quicker and cheaper technique was used, consisting of making the piece in white with relief decoration, in a single mould, and after drying the paste, painting the desired surface in colour, leaving the rest in white, and finally firing the piece (again, a single firing). In both techniques the result is a biscuit piece, without glaze.
Version of the one preserved in the Prado painted by Mar’a Cristina de Borb—n, measures: 202 x 120 framed, canvas: 172 x 88 cm, with old label of the Civil War Seizure Board on the back. Eros is pictured here as a rogue. The original Parmigianino painting (now in Vienna, Kunsthistorisches Museum), painted in the 1530s, is considered to have traveled from Parma to Madrid, and hung in the home of Antonio PŽrez, secretary to King Philip II in the 1560s and 1570, behind a silk curtain. This would add mystery to the image: upon removal, the spectators' gaze would suddenly be fixed on Cupid and hers on them. The king was the next owner of the painting, which in 1605 was sent to Rudolf II in Prague. The copy in the Prado Museum must have been painted before the original left Spain. It may be the work of Eugenio CajŽs, known for having copied other paintings from the Royal Collection. But painting copies was a very common practice at that time, so it is difficult to accurately identify the authors. The plasticity of the original representation, painted on a panel, is somewhat weakened here due to the effect of the texture of the canvas used as a support. Even so, this copy retains some of the beauty and appeal of the original. Another old copy with close measurements is kept in the MusŽe des Beaux-Arts et d«ArchŽologie de Besanon (inv. 885.13.1, oil on canvas, 125 x 63 cm) The plasticity of the original representation, painted on a panel, is somewhat weakened here due to the effect of the texture of the canvas used as a support. Even so, this copy retains some of the beauty and appeal of the original. Another old copy with close measurements is kept in the MusŽe des Beaux-Arts et d«ArchŽologie de Besanon (inv. 885.13.1, oil on canvas, 125 x 63 cm) The plasticity of the original representation, painted on a panel, is somewhat weakened here due to the effect of the texture of the canvas used as a support. Even so, this copy retains some of the beauty and appeal of the original. Another old copy with close measurements is kept in the MusŽe des Beaux-Arts et d«ArchŽologie de Besanon (inv. 885.13.1, oil on canvas, 125 x 63 cm)
A collection of Oriental ceramics, to include blue and white charger, floral and fan decoration, 31cm diameter; two blue and white cricket cages; a blue and white bowl, two character mark in blue; a blue and white dish, curved rim, four character mark in blue; another small dish; a cloisonne dish; three Imari pattern vases; a Kutani bowl and cover; a wood block print of storks, koi carp, peacocks and other animals; a brass and copper comport with cast classicla panel; two Indian copper bowls; and a set of dominoes.
A pair of Dresden four panel cabinet plates, two panels depicting a couple in the countryside, two panels with floral decoration, curved rim, 21.5cm; an A S & Co floral plate, teal and gilt border with butterfly roundels; a Wedgwood & Co floral plate; and nine other floral or fruit design plates.Qty: 13
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
Three 19th century needlework panels depicting biblical scenes, the largest embroidered panel with figures by a well, signed 'S.A. Dearlove Age 12, 1827', 38x48cm; the second in long stitch with Christ seated aside the Lord, in a painted and gilt octagonal frame, 40x31cm; and a smaller oval panel of shepherds, heightened with colours.Qty: 3Condition report:Please see additional uploaded images of the two other panels, and a close-up of damage to the Dearlove panel.
A three panel oil on canvas montage depicting storks and kingfisher in marsh setting - 123cms x 53cmsCONDITION REPORTCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
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.
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.
A GEORGE III MAHOGANY RECTANGULAR TRAVELLING DESKThe lift top opening to reveal a baize lined interior, fitted hinged side panel enclosing twin drawers, the front with brass handle and lock plate and raised on removable turned centre pillar and tripod supports. 58 x 40 x 79cm highCondition Report: Overall good conditionThe top with some old stains and burn marksThe baise interior in good condition, some small losses to wood, see imagesOne side flap falls when hinged top is liftedFlap on other side stiff but opensAll drawers presentSome wear to feet commensurate with ageSee additional images
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