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Lot 6
A fine set of four Crown Staffordshire bone china Spirit Labels, stamped T. Goode & Co. Ltd, for Whisky, Port, Sherry & Claret, with decorative ribbons, and gilt edges; also a silver Spirit label; a bottle opener with polished stone base, possibly Iona marble; also a pair of silver plated wine coasters (8)
Lot 47
watercolour on paper, signedmounted, framed and under glassimage size 29cm x 29cm, overall size 47cm x 47cm Artist's label versoNote: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK. In The Scottish Contemporary Art Auction of 21st August 2022 lot 43 "Coastal Flght" a watercolour by Claire Harkess sold for £850 (hammer).
Lot 80
A very fine George II spirit kettle and stand, mm John Robinson II (1741-1765) London hallmark. The teapot footed circular form is embellished with bright cut floral and foliate decoration to the upper portion of the pot, with continued scrolling to the hinged lid surmounted with a bud finial. A family crest engraved to the body of the tea pot, with a woven wicker mounted swing handle approx 1234.6 gms together with a burner and stand having pierced scrolling decoration, supported on three acanthus capped legs terminating and feet, approx 626 gms.
Lot 16
Louis Le Brocquy, HRHA (1916 - 2012)Head (286)Oil on canvas, 73 x 73cm (28.5 x 28.5")Provenance: With The Dawson Gallery, Dublin, label verso; Private Collection, DublinLouis le Brocquy is widely recognised as one of the ‘most highly-regarded Irish-born artist[s] in the second half of the twentieth century.’(1) From the late 1940s, he was one of a number of significant artists based in Britain who retained an interest in the human figure at a time when abstraction had become the dominant mode of representation. His departure from illusionistic realism to a stylised approach to figuration ensured his continued relevance to the challenges of Modernism. In London, he became friendly with Irish-born artist Francis Bacon (1909-92), who observed:‘Le Brocquy belongs to a category of artists who have always existed – obsessed by figuration outside and on the other side of illustration – who are aware of the vast and potent possibilities of inventing ways by which fact and appearance can be reconjugated.’(2)These words could be applied to the ground-breaking ‘head’ series begun by Le Brocquy in 1964 following a visit to the Musée de l’Homme, the anthropological museum in Paris. Le Brocquy had experienced something of an impasse as a painter and, dissatisfied with his recent efforts, destroyed many of his own artworks. The visit to the Musée, however, provided him with the impetus for a new direction. On witnessing the ritualised Polynesian heads on display, decorated with painted plaster, the artist recognised how prioritising the human head was also significant in Irish cultural history. He Identified a route that would enable him to explore his concept of humanity. As he observed:‘For me, as perhaps for our Celtic … ancestors, the human head can be regarded ambivalently as a box which holds the spirit prisoner, but which may also free it transparently within the face.’(3)This observation is revealing in how the artist saw the role of the head, at once containing the human spirit, but also providing a locus of the imagination, as well as a crucial means of communication, including through wordless physical expression.As the name applied to the Ancestral Heads series suggests, le Brocquy evoked connections through the generations between the present and the distant past. This series comprised anonymised individuals that would, in time, give way to his portrait heads of known creative practitioners, some of whom he knew personally. A common feature of his work, including all of the head series, was to undertake multiple versions on the basis that no one image could capture the range and complexity of any individual. Consequently, even with the anonymised Ancestral Heads, he addressed the theme repeatedly as the concept evolved over time. Head (286) demonstrates the essential principles evident as the series got under way, enabling the artist to explore dimensions of the human condition. The frontality of the head, emerging from a background of textured pigment – in this case a tone of white – was a common element throughout. The earliest heads appear in subtle tones, like shadows or memories of dreams, almost within grasp, but not quite clear. As the series developed, while the upper part of the face remains shadowy, the nose and mouth take on a more defined form and colour as though emerging from depths in order to come into fuller existence. In this work, as in several carried out at this time, the mouth is shown open wide. The concentration on the mouth suggests also a familiarity with the work of his friend, the artist Francis Bacon. It is well recognised, however, that Louis le Brocquy’s approach to figuration was distinctly different from that of Bacon. In Head (286), the mouth plays a positive role, seeming to draw breath in order to instil both life itself as well as the condition of humanity in all its subtle frailty. For le Brocquy, elements of the body – like the mouth and hands – were vital human means of communication, through gesture, speech and text. Louis le Brocquy’s portrait head paintings are subtly exploratory and revealing. They suggest at once the inner life of contemplation and creativity, as well as the capacity to communicate through cultural expression. The Ancestral Heads series which initiated the series explores the idea of the very emergence of humanity.The words of Seamus Heaney, writing on the artist’s Head series, are relevant to the present Head painting.(4)‘ … ghostly yet palpable, familiar and other, a historical creature grown ahistorical, an image that has seized hold of the eye and will not let it go.’Dr Yvonne Scott, January 2023Obituaries, The Daily Telegraph, 28.4.2012. Just two artists were identified in this source: Louis le Brocquy, and Francis Bacon (1909–92).Francis Bacon, exhibition catalogue, Louis le Brocquy: A Retrospective Selection of Oil Paintings 1939–1966, The Municipal Gallery of Modern Art, Dublin; Ulster Museum, Belfast, 1966, p.1. Quoted in ‘Biographical Note’ https://www.anne-madden.com/LeBPages/biography.html (accessed January 2023)Louis le Brocquy,’Notes on painting and awareness’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.147.Seamus Heaney, ‘Louis le Brocquy’s Heads’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.132.
Lot 29
Jack Butler Yeats RHA (1871-1957)The Ring Master and the Clown (1909)Watercolour, 25 x 35cm (10 x 13¾")SignedProvenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, DublinExhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illusBy the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West.Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’.Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’. The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.
Lot 121
English School (19th/early 20th century)Man is a Spirit, Spriritualism Triumphant! End of Sectarian Differences 20th Century, an allegorical girl stands atop the mountain, lighting the ruins of the fallen templeinscribed, oil on canvas, 87cm x 112.5cmNote: The banners held by the onlooking figures appear to be inscribed with eminent names from the Spiritualist Movement in Britain and America, with 'Eglinton' referring to William Eglinton (1857 - 1933) and 'Fox' to the Fox Sisters of Rochester, New York.
Lot 361A
A large collection of comics and graphic novels, including The Hands of Shang Chi Master of Kung-Fu 25, 35, 38-40, 42-50, 67-69, 79-86, 88-91, 94-107, 109-115 (First appearance of DEATH DEALER), 116-123, 125, The Tomb of Dracula 16-28, 35-36, 38-58 (Feature length Blade solo story + Origin of Blade the Vampire Slayer retold + ) 59-70, Spawn 9-18, issues of Sabre, Warrior, Love & Rockets, The Savage Sword of Conan, The Spirit, and others (qty) Condition Report:Available upon request
Lot 44
French school of the late 18th century."Portrait of a lady as Hebe".Gouache on vellum.It presents faults on the pictorial surface.It has an early 19th century frame with faults.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 10,5 x 9 cm; 26,5 x 24 cm (frame).Miniature in which a lady is represented carrying a cup, in such a way that she is identified with the goddess Hebe. This type of depiction of ladies adopting attributes of classical divinities became widely popular during the 18th century and later. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or as gifts, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century onwards, in parallel with the development of photography.The most common type of work of this type in the 19th century were historicist representations, often set in the preceding century. However, the portrait we present here takes up the spirit of the eighteenth-century portrait-jewel and applies it to modern times, capturing the image of a real woman of her time, no longer an ideal recreation of the Romantic type.
![(Bumpus Binding), Noel Coward: [Works], a collection of works by Coward in fourteen volumes , including first editions of the](https://cdn.globalauctionplatform.com/00cb7519-64fb-443f-8bcf-afb000dc08be/4b299c39-b4fd-45c9-a740-afb300a993ce/468x382.jpg)
Lot 5159
(Bumpus Binding), Noel Coward: [Works], a collection of works by Coward in fourteen volumes , including first editions of the authors first three books, all specially bound for Jack [John C.] Wilson, comprising: 'A Withered Nosegay', L, Christophers, 1922, 1st edition, 'The Young Idea', [1924], bound together with "I'll Leave It to You", 1920; 'Chelsea Buns', [1925]; 'Three Plays (The Rat Trap; The Vortex; Fallen Angels)', 1926, 2nd impression; 'Three Plays with a Preface (Home Chat; Sirocco; This Was a Man)', 1928; 'The Queen Was in the Parlour', L, Benn, 1932, 3rd impression, bound with 'The Marquise', 1930, 2nd impression, and 'Easy Virtue', 1937, 4th impression; 'Spangled Unicorn', [1932]; 'Conversation Piece', 1934; 'Point Valaine', L, Heinemann, 1935; 'Operette', 1938, 1st edition, 'Present Indicative', 1937, 1st edition; 'Tonight at 8.30', 1937, first one volume edition; 'Collected Sketches and Lyrics', [nd], 14th thou., uniform fine full crushed blue green morocco gilt by Bumpus Ltd, Oxford, front covers each with single fillet gilt borders, each front cover with central "JN" monogram (the initials of the first names of Coward and Wilson) intertwined with a circle gilt, spines in compartments with raised bands, gilt rules and lettering, all edges gilt, inner dentelles gilt, spines a little suned and just a little wear, a very nice set. Bookplates of the New York collector Herbert Schimmel to front pastedowns. John C. Wilson (1899-1961) was an American theatre director and producer. During the run of The Vortex by Noël Coward in 1924, Wilson met Coward and soon became his business manager and lover. Wilson used his position to steal from Coward, but the playwright was in love and accepted both the larceny and Wilson's heavy drinking. Wilson began his theatre career in 1931 as General Manager for the original Broadway production of Coward's hit play Private Lives. He began producing shows on Broadway in 1935, including Coward's Tonight at 8.30 in 1936 and Set to Music in 1939. Wilson's first project as a director was another Coward work, Blithe Spirit, in 1941. (14)
Lot 34
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Ink and pencil on card.Slight damage to the paper in the corners.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.A desolate face opens its mouth in an expression of pain, captured by a great technical handling of the artist who manipulates the brushstrokes in a horizontal way, and manages to capture the breathing of the protagonist. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 35
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura con sombrero y flor en la boca (Figure with a hat and flower in its mouth), 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.In this portrait we can appreciate a clear influence of the surrealist movement where the forms have been reinterpreted by the artist in a free way without abandoning the figuration. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 36
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 37
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the central area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 38
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 330
A GENESIS FINE ARTS / HEREDITIES FIGURE 'SPIRIT OF EARTH' AND FIVE FIGURINES, comprising bronzed resin Spirit of Earth figure, from a limited edition of 5000, height 33.5cm, together with Royal Doulton Buttercup HN2309, Coalport Age of Elegance 'Royal Gala', Franklin Porcelain A Rose for Genevieve, Elizabeth I, and Isabella of Spain (6) (Condition Report: most pieces appear in good condition, A Rose for Genevieve has some losses to 'lace' areas, would benefit from a clean)
Lot 425
A GROUP OF VINTAGE TOOLS, to include a Crown fluting iron, having raised letters reading 'Crown, Pat. Nov. 2 1875, July 3 1877, Reissued Mar. 23 1880' marked to underside 'North Bro's M'F'G Co, Philadelphia, PA', with two iron heating rods, together with seven assorted flat irons, a steel footed block plane stamped with the owner's name W Brown, the blade marked Thos Ibbotson, a spoke shave plane, a marking gauge marked I or J Bowden, flower shaped mark to handle, a spirit level by J Rabone & Sons, a boxed vintage RPM gauge, a cased Buttner pipe reamer, a pair of novelty callipers in the form of a pair of legs, drawing instruments, etc (Qty) (sd)
Lot 759
BOX OF GAMING AND ANIME FIGURES, including the Assassins Creed 2 Ezio collector's figure, Final Fantasy Dissidia trading figures of Cloud, Squall, Zidane, Tidus and the Warrior of Light, Professor Layton & The Lost Future gacha figure of Clive, Inuyusha with the Tetsusaiga sword figure, Pocco Kaiyodo from Sweet Dreams, the Fallout 3 Vault-Tec tin launch box, a Gundam Deathscythe model kit, Pokemon Soul Silver promotional Lugia figure, The Legend of Zelda Spirit Tracks Phantom figure, .Hack Kite and Black Rose figures, and numerous Fullmetal Alchemist figures, condition report: some of the Fullmetal Alchemist figures are not attached to their bases, the Warrior of Light figure is missing his horns
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49305 item(s)/page