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Click here to subscribeBox of mixed items to include: boxed Auriol 10x50 binoculars, modern table globe, Baby Ben Westclox American vintage travel clock, small stoneware bottle, framed and glazed taxidermy butterfly, small circular religious print and a framed oils on canvas, still life of flowers, signed Y Beverly and a shoe last. (B.P. 21% + VAT)
PAMELA BONE (1925-2021), Five Creative Colour Landscapes,printed c.2000-2006, five colour photographs, Cibachrome prints, each a manipulated image, some or all these prints are from multiple superimposed negatives, four signed in ink on the image, all with photographer's hand written notes taped verso regarding the images and framing, images approximately 31cm x 30cm, in glazed frames largest 54cm x 51cm Note: These photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey. Some frames appear to be reused and may have an earlier image concealed. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PAMELA BONE (1925-2021), Five Framed Creative Photographs,Two Shadow Leaves Nov 2009, overlapped reversed photogram of a skeleton leaf, unsigned, titled on note verso with 'These are my signature pix changed places .... These 2 shadow leaves are printed on American cotton 100% archival', image 24cm x 14cm, frame 38cm x 26cm, a collage black string of silk and foil-backed negatives of leaves, on orange ground, frame 56cm x 54cm, a colour composite leaf skeleton image, a woodland scene and farm machinery, all probably Cibachrome Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PAMELA BONE (1925-2021) Gelatin Silver Prints,photographed and printed 1960s and later, each with photographers wetstamp verso, 20+ animals (wildlife and pets), 60+ landscapes and architecture, 20+ taken in India, labelled ' B&W copies from Indian transparencies' with some contact prints etc. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
MATÍAS DE ARTEAGA Y ALFARO (Villanueva de los Infantes, Ciudad Real, 1633 - Seville, 1703)."Jesus and the adulteress".Oil on canvas.Relined.Measurements: 84 x 105 cm; 95 x 116 cm (frame).In this oil painting by Matías de Arteaga, as was typical of this painter's art, the architectural interior has been meticulously described and worked following the precepts of Italian perspective. However, Renaissance spatial solutions became more complicated in the Baroque period, with the superimposition of scenes and spaces. The main scene is occupied by Jesus, who points to the ground while saying "Let him who is blameless cast the first stone". In front of him is the woman who was to be stoned for adultery. The other figures are stunned and undecided by his words. The relief effect of the figures carved in the stone, the rich plasticity of the robes and the flesh tones, as well as the solution of the groups escaping towards a background of arcades are remarkable. The work is very similar to works by Matías de Arteaga, in which classical architecture plays an important role, such as the Wedding at Cana, which belongs to the collection of the Museo de Bellas Artes in Seville, or the Marriage of the Virgin, in the collection of the Museo del Prado.Matías de Arteaga y Alfaro was a Spanish Baroque painter and engraver. A member of the Sevillian school, he was able to capture and interpret the dual influence of Murillo and Valdés Leal with his own personality. The son of the engraver Bartolomé Arteaga, when he was still a child his family moved to Seville, where he trained in his father's studio and in contact with Murillo, whose influence reveals his early work together with that of Valdés Leal, who settled in Seville the same year that Arteaga passed his master painter's examination in 1656. In 1660 he was among the founding members of the celebrated drawing academy promoted by Murillo, among others, of which he served as secretary between then and 1673. In 1664 he joined the Hermandad de la Santa Caridad brotherhood and two years later the Sacramental del Sagrario brotherhood of Seville cathedral, for which he produced a number of works. Around 1680 he is also recorded as working as an appraiser of paintings. He died in 1703, and the inventory of his estate at his death reveals that he lived well off, having a slave and a large, well-furnished house with a medium-sized library containing important books in Latin and Spanish and an engraving studio, as well as over 150 paintings, almost half of which were of religious subjects. Among them were four series of the Life of the Virgin, some of which were expressly said to contain architectural views, such as those in the present work and those in the Museo de Bellas Artes in Seville. The most characteristic feature of his peculiar style is precisely these series of always religious subjects, set in broad landscapes and architectural perspectives taken from prints. Skilful in the creation of these deep, skilfully illuminated perspectives, he was, however, somewhat clumsy in his treatment of the figures and their bodily expressions. Arteaga is represented in the aforementioned Sevillian museum, various Sevillian churches including the cathedral and the Museo Lázaro Galdiano, among others.
School of GIUSEPPE RECCO (Naples, 1634 - Alicante, 1695)."Spider crab".Oil on canvas.It has a 19th century frame.Measurements: 30 x 50 cm; 39 x 57 cm (frame).In spite of the few elements that are portrayed in the work, all of them are treated with mastery reflecting the special qualities. Normally, images of crustaceans are presented in the form of still lifes. However, in this work the spider crab is the absolute protagonist, not as a still life that forms part of a larger whole, but still alive in the sea that lightly covers its legs.Both the subject matter and the aesthetic are highly reminiscent of the painting of Giacomo Recco, who was born in Naples and was probably apprenticed to his family, his father Giacomo Recco and his uncle Giovan Battista Recco. He later perfected his technique with Paolo Porpora, who had been his father's pupil. During a stay in Lombardy from 1644 to 1654 with his uncle, he was influenced by the works of Evaristo Baschenis. As his fame spread, King Charles II invited him to travel to Spain. His style is often compared to that of Giovan Battista Ruoppolo, who was also a pupil of Porpora. Early in his career he moved from painting flowers to more varied assemblages and was one of the first Italian painters to do so. Recco may have died in Alicante, Spain, before arriving in Madrid, although contemporary sources indicate that he lived there for seven years and became a Knight of the Order of Calatrava.
Circle of FRANCISCO BARRERA (Madrid, 1595 - 1658)."Allegory of Taste".Oil on canvas.Retouching.Restorations.Frame of the 19th century, with faults.Measurements: 98,5 x 136 cm; 110 x 148,5 cm (frame).This is a painting of great iconographic richness, compositional audacity and masterly treatment of the glazes. It belongs to the circle of the Madrid-born Francisco Barrera, a renowned early Baroque still-life painter. His seasonal allegories are very similar in theme and treatment to the present painting. The Flemish school of the time also influenced this painting, which can be related to the oil painting The Taste, a collaborative work by Rubens and Brueghel the Elder. In our painting, the young woman dressed in lapis lazuli blue who is about to eat a piece of fruit embodies the allegory of taste. A necklace of translucent stones adorns her neck. She is surrounded by fruit trees, and on her left a still life of various delicacies is accompanied by a canvas depicting the biblical miracle of the multiplication of the loaves. This typically Baroque device (the painting within the painting) iconographically links the two landscapes (the one occupied by the allegorical figure and the one painted in the biblical painting), thus enlarging and enriching the pictorial surface. The human groups, the villagers gathered around Jesus, have been depicted with great skill. In addition, next to the allegorical figure, the expulsion from paradise has been represented (Adam and Eve, minimised with respect to the female Allegory, have been tempted to eat the apple). In iconographic opposition to both Gospel themes, we see a monkey in the left-hand corner of the painting, symbolising gluttony and earthly pleasures.The desire to integrate a moral teaching with the still-life theme and the religious theme was widely explored by Francisco Barrera and the Madrid Baroque school, itself heavily influenced by the Flemish school. The idealised features of the young woman, in contrast to the veristic approach in the depiction of the delicacies, reflect a language very close to Barrera's. Barrera's still lifes can also be compared to those of Juan de Van der Hamen, although he moved away from the courtly tone of his master in favour of more intuitive, natural compositions. Particularly famous were his seasonal still lifes with seasonal foodstuffs, which became fashionable at court. Barrera represents a more advanced moment in the Baroque than Van der Hamen and Cotán: he sought asymmetry in his compositions, naturalism in the arrangement of the elements, as well as the importance he gave to the landscape. Francisco Barrera is represented in the Museum of Fine Arts in Seville, the National Museum of Slovakia, and important collections around the world, both public and private.
MARTIN VAN HEEMSKERCK MAARTEN VAN HEMSERCK (Heemskerk, 1498-Haarlem, 1574)."Vanitas.Oil on oak panel. Engatillada.Size: 63 x 69 cm; 85 x 101 cm (frame).In a sober interior rests the figure of a small boy, who sleepily rests one of his hands on a skull, while with the other one he holds a poster on which it can be read "Nascendo Morimur". The image, which loses its innocence through the presence of death as an idea lurking over the child's innocence and innocence, takes place in an interior of great spatial amplitude. In this space, only the curtain stands out as an ornamental element, which, due to its colour and modelling, brings luminosity and volume to the work. On the right-hand side, the space is open to a distant landscape dominated by the cold colours of the vegetation, while the sky has been painted in a warmer ochre. In this vegetation, the figure of a second character can be seen, which is outlined in the composition. Returning to the words on the poster carried by the protagonist, Nascendo Morimur refers to a specific 16th-century artistic genre, which could be translated as "As we are born, so we die". This was a popular theme in Flanders and Germany during that period, and is strongly related to the more popular Vanitas still lifes. Within the genre of vanities, which was so important, depicting the transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounce the relativity of knowledge and the vanity of the human race subject to the passage of time and death. Its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity").Marten Jacobszoon Heemskerk van Veen was a Netherlandish painter of the so-called Antwerp school, known for his portraits, his religious works and his reconstructions of the Seven Wonders of the World, which were disseminated throughout Europe in prints. He learned with Jan van Scorel and was influenced by Italian Mannerism in his workshop, but his style changed radically when he was able to travel to Italy (with a long stop in Rome, where he seems to have collaborated with Antonio da Sangallo the Younger on the Porta di San Sebastiano) and see everything at first hand. Even after returning to his native country in 1536, he always maintained a highly ornamental aesthetic, which earned him a very comfortable position and a certain prestige. His work, which is not very abundant, is to be found in museums such as the Fitzwilliam in Cambridge (UK), the Thyssen-Bornemisza in Madrid, the National Museum in Warsaw and the Rijksmuseum in Amsterdam, as well as in important private collections.
A collection of several oils on board together with a number of landscape watercolours. To include four oil on boards, depicting a steam train scene, a rural landscape / castle scene, a still life of a seated nude, and a large storyboard for a Gary Kurtz project portrayal of a 1940's " gangster " and sleek black car in the background - 51cm x 61cm.
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Ceria temblor", 1995.Oil on canvas.With label on the back from Fauna's Gallery (Madrid).Signed in the lower right corner.Measurements: 27 x 38 cm; 40,5 x 48,5 cm (frame).A surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.
PEDRO PÉREZ DE CASTRO (1823-1902)."Country Scene", 1863.Oil on canvas. Re-coloured.With restorations and repainting.Signed and dated in the lower right corner.Measurements: 71 x 99 cm; 54 x 82 cm (frame).Pedro Pérez Castro belonged to a family of artists, in which his brother, Mariano, also stood out. He was known for his lithographic work, with his Álbum de la Guerra de África and Álbum de vistas y paisajes de Espala (Album of views and landscapes of Spain) standing out. He submitted his work on numerous occasions to the National Exhibition of Fine Arts. In 1866 he contributed a still life and a costumbrista scene which won him an honourable mention.
JOSE MURILLO BRACHO (Seville, 1827 - Malaga, 1882)."Still life with figs".Oil on panel.Signed in the lower right area.Measurements: 27 x 18 cm.Still life of baroque heritage as for the illumination and the composition, starring only figs in different states of ripeness. Although he was born in Seville, José María Bracho Murillo - when signing his name he inverted his surname - is considered to belong to the Malaga school. He lived in Seville until 1876, where he studied at the Academy of Noble Arts of Saint Elizabeth of Hungary, where in 1844, at the age of seventeen, he won the first prize in the classes of Model in Plaster and Pieces. Among his teachers at that time was the famous painter Antonio María Esquivel, who became his teacher. He taught drawing in Cadiz in the middle of the century, and in 1854 he commissioned Esquivel to paint two large nude works: "La casta Susana" and "La mujer de Putifar". He also taught line and figure drawing at the Jerez de la Frontera secondary school and took part in the local exhibitions of 1858 and 1862, where he won a silver medal. It seems that he also sent works to the National Exhibition in Madrid at that time. Later he took part in the National Exhibition of 1871, and was praised by the critics with phrases such as "You deserve a flower for your beauty" (Ramos Carrión). In 1876 he was in Malaga, where the San Telmo Academy of Fine Arts hired him as a teacher and acquired several of his paintings as teaching material for the colouring class. In 1877 he presented several still lifes and fruit paintings at the exhibition held on the occasion of King Alfonso XIII's visit to Malaga. On this occasion, the monarch heard from the master Ferrándiz that Murillo Bracho "paints with the mastery of a teacher and the precision and awareness of a nature lover. The flowers are real, without his realism offending us". Some of his works exhibited on this occasion were later acquired by the city council. In 1878 he again took part in the National Exhibition, with several paintings of flowers, grapes and other fruits. That same year he took part in the Universal Exhibition in Paris. Despite his deteriorating health, Murillo Bracho took part in the local exhibition of 1880 with several of his paintings. Murillo Bracho's work was always dominated by his two favourite themes, grapes and flowers, depicted in a purist language that recalls bygone eras through its balance, weight and skill. His painting is based on the real fidelity of the objects to be represented, always rich in their chromaticism and with an attractive and elegant appearance. Murillo Bracho is currently represented in the Municipal Museum of Malaga.
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte au compotier", 1951.Oil on canvas.Signed in the lower right corner.Provenance: Work acquired at the Art Curial gallery in Paris in June 1982.Work published in "Francisco Borés. Catalogue Raisonné. Pintura, Tomo II, 1945-1972", Hélène Dechanet, MNCARS and Fundación Telefónica, Madrid, 2003.Work exhibited in "Bores, Retrospective 1923-1972". Peintures, gouaches, dessins" 1982, Artcurial Paris, pg 28.Size: 59 x 71 cm; 63 x 76 cm (frame).This painting belongs to an extremely fertile creative period for Bores. Even though he was already an internationally recognised artist in the fifties, his work, far from stagnating, continued to expand the limits between figuration and abstraction. Here we see a return to the object through the still life but without renouncing the two-dimensionality, the intellectual synthesis and the force of colour applied in planes that defined his painting.Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended the Julio Moisés Free Academy, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists. He travelled to Paris, where he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London. In 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries. In 1969 he exhibited at the Galería Theo in Madrid. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. Francisco Bores is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, the Museo de Arte Reina Sofía in Madrid, the National Museum of Fine Arts in Madrid and the National Gallery of Madrid.
GUSTAVE SCHWARZ (c.1809 - c.1854)."St. Elizabeth of Hungary 24 years old on her deathbed", 1853.Oil on canvas. Re-coloured.Signed in the lower right corner.Presents Christie's label of 1981.Measurements: 101 x 130 cm, 120 x 150 cm (frame).In the image, we see an interior scene in the room of a lady, on the bed, the one who is the owner of the rooms appears recumbent, with her whitish face like the sheets and almost her hair. In the rest of the room, four people, probably her relatives, mourn her loss. As for the composition and light of the image, it is undoubtedly reminiscent of Tenebrism and Caravaggiesque painting, where the light emanates from a specific point, not necessarily a logical one, and from there, the other lights and above all the shadows of the rest of the painting are governed.In 1217 Ermanno I, prince of the Empire, died in Hungary. He was succeeded by his son Ludovico, who solemnly married the fourteen-year-old Isabella in 1221. She became "Elisabeth of Hungary". In 1222 her first son Ermanno was born, Sophia in 1224 and Gertrude in 1227. But the latter came into the world already fatherless.Widowed at the age of twenty and with three children, Elizabeth received her dowry back, and there were those who made plans for her: she could remarry at that age, or enter a monastery like the other nuns, to live there as a nun, or even as a queen, as suggested by her confessor. But she decides to set up a hospital for the sick and poor where she offers her whole life. She visits the sick twice a day and then offers help to anyone who needs it. And all this while remaining a widow, a laywoman.After his death, the confessor revealed that, during her husband's lifetime, she devoted herself to the sick, even the disgusting ones: "To some she fed, to others she provided a bed, to others she carried them on her shoulders, always doing everything possible, without, however, coming into conflict with her husband".She died in Marburg at the age of 24, often called a saint, which led Pope Gregory IX to order an investigation into the wonders attributed to her. She was canonised in 1235, still by Pope Gregory.
JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991)."Flors, gerro fosc".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés, Barcelona.Attached leaflet of the exhibition in which it was included: "Josep Amat: exposició de pintura", Sala Parés, 1981.Published in the newspaper La Vanguardia on 28 February 1981. Attached original sheet.Measurements: 65 x 50 cm; 68 x 53 cm (frame).In this floral still life, Josep Amat displays an attractive chromatic symphony using a luminous palette. The serpentine stems are topped with open corollas that endow the whole with multicoloured delicacy. The vase, placed on a gueridon-type table, is cut out in front of a window through whose panes of glass the spring greenery is prolonged.Josep Amat trained at the Llotja School in Barcelona and was a favourite pupil of Joaquim Mir. In 1922 he took part in a group exhibition for the first time and sold his first landscape. Six years later, in 1928, Amat made his solo debut with an exhibition of twenty-eight works at the Dalmau gallery. From then on he exhibited individually in the most important galleries in Barcelona. In 1933 he took part in the Spring Salon, winning prizes in that edition and also in those of the following two years. That same year he travelled to Paris for the first time, where he became known in 1936 in a group exhibition. In 1940 he exhibited for the first time at the Sala Parés, where he exhibited frequently until 1987. During these years he took part in the Barcelona Spring Salon, winning prizes in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, a diploma in 1942 and the Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Now fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the outbreak of the Civil War he was forced to give up plein air painting and began a period centred on figures and interiors. In addition to his awards in national competitions, he won the José Ramón Ciervo prize at the Second Spanish-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premi Sant Jordi (1955), the Ynglada Guillot drawing prize (1963) and the Gold Medal of the Barcelona International Painting Fund (1981). Between 1942 and 1970 he taught landscape painting at the Barcelona School of Fine Arts. He joined the Sant Jordi Royal Catalan Academy of Fine Arts in 1981, with a speech entitled "History of Landscape". This painter is remembered as the leading exponent of 20th-century Catalan Impressionism, and has been honoured with various exhibitions, including one organised by Barcelona City Council at the Espai Pruna in 2001 to mark the centenary of his birth, as well as the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia.
ANTONIO RODRÍGUEZ VALDIVIESO (Granada, 1918 - Madrid, 2000)."Still life".Oil on canvas.Signed in the lower left area.Measurements: 73 x 60 cm; 92 x 78 cm (frame).A painter and engraver considered one of the main representatives of Spanish figuration in the second half of the 20th century, Valdivieso trained at the School of Arts and Crafts in Granada, and was a member of the group of painters of the old Buchholz gallery in Madrid, where he exhibited regularly both individually and collectively. Between 1951 and 1952 he lived in Paris, and later collaborated with the architect Fernández del Amo on the Plan for the National Institute of Colonisation, producing several stained-glass windows for churches in Madrid, Lérida and Valladolid. He is currently represented at the Museo Nacional Centro de Arte Reina Sofía.
Turkish kilim, first half of the 19th century.Hand-knotted wool.Measurements: 148 x 397 cm.This carpet comes from the Barcelona residence of the Sultan of Morocco, S.A.I. Muley Hafid, a tower-palace that he had built in calle LLeó XIII nº 15, between 1915 and 1920, which is still preserved today. There is an article published in the Vanguardia de Barcelona by Lluis Permanyer, chronicler and historian of Barcelona, entitled "The Moorish friend Muley Hafid", which tells the story of this character in relation to the years he lived in the city of Barcelona, where he was much loved and idolised by adults and children alike, above all for his great generosity towards the city and its inhabitants.Kilim is a word of Turkish origin, these rugs have been woven throughout the ages in the geographical area that includes parts of the region of Turkey (Anatolia and Thrace), North Africa, the Balkans, the Caucasus, Iran, Afghanistan, Pakistan, Central Asia and China. Kilims are flat-woven, knotless rugs woven by passing the weft threads through the warp threads, a particularity that determines their design. Geometric motifs are the most common, mainly diagonal slanted lines that form inverted rhombuses and triangles that are distributed throughout the piece, either creating a border or following a more or less symmetrical pattern that covers the entire background of the carpet. But like the motifs, it is the colours that give life to this kilim, most frequently reds, blues, tans and tans......This carpet comes from the Barcelona residence of the Sultan of Morocco, S.A.I. Muley Hafid, a tower-palace that he had built at Carrer LLeó XIII nº 15, between 1915 and 1920, which is still preserved today. There is an article published in La Vanguardia de Barcelona by Lluis Permanyer, chronicler and historian of Barcelona, entitled "The Moorish friend Muley Hafid", which tells the story of this character in relation to the years he lived in the city of Barcelona, where he was much loved and idolised by adults and children alike, above all for his great generosity towards the city and its inhabitants.
PAUL GUSTAVE DORÉ (Strasbourg, 1832-Paris,1883)."The Divine Comedy".Set of three photogravures.They show stains of dirt and some wrinkles on the paper.Measurements: 24 x 18 cm (print, x3) ; 47,5 x 35 cm (paper, x3)Set of three photoengravings representing scenes from the Divine Comedy, written by Dante. Paul Gustave Doré was a French Alsatian artist, painter, sculptor and illustrator, considered in his country the last of the great illustrators. He began his artistic training working with Charles Philipo, who published one lithograph a week for him. He later received various commissions from François Rabelais, Honoré de Balzac and Dante Alighieri, which meant that, while still very young, he was paid more than his contemporary Honoré Daumier. In 1853 he illuminated some of Lord Byron's works. In 1862 he travelled around Spain with Baron Davillier. As a result of the trip, the following year he published a series of chronicles on Valencia, Galicia, Andalusia, with specific stays in Granada, Madrid and other Spanish capitals. The work was included in the collection Le Tour du Monde. In the 1860s, Doré illustrated a French edition of Miguel de Cervantes's The Ingenious Hidalgo Don Quixote of La Mancha, based on his life experience in Spain. Doré later signed a five-year contract with the publisher Grant & Co. This meant that he had to spend at least three months a year in London. The book London: A Pilgrimage, with 180 engravings, was published in 1872. Although it was a commercial success, many critics disliked the publication, scandalised by the fact that Doré depicted London's poverty in his work. He was accused by the Art Journal of being a "fantasist rather than an illustrator", and denounced in other leading journals such as the Westminster Review. However, the success of London: A Pilgrimage led to many more commissions from English publishers.
Pair of heads; Greece, Hellenistic period, 3rd century BC.Terracotta.Damage caused by the passage of time.Size: 3 x 2 x 2 cm; 3 x 2 x 2 x 2.5 cm.Pair of heads made in terracotta which still conserve the essential features of the face, despite the passage of time. Hellenistic sculpture represents the final period in the evolution of Greek sculpture, and developed in the period between the death of Alexander the Great in 323 BC and the conquest of Egypt by the Romans between 30 and 31 BC. It is an eclectic, secular and historicist language, which takes as its starting point the legacy of classical sculpture from the previous period, to which new oriental influences were added. It also involved a refinement of the representation of human anatomy and emotional expressiveness, as well as a fundamental change in aesthetics, moving away from the ideal to represent the individual, from the generic to the specific. Thus, the previous ethical and pedagogical ideal is abandoned in favour of a new emphasis on everyday human aspects, in an art that will have the aesthetic as its main purpose, although occasionally it will also be propagandistic. This new interest in man and his inner life, his emotions, problems and yearnings, resulted in a realistic style that tended to emphasise the dramatic, the prosaic and movement. Hellenism also provided the first individualised and plausible portraits in Western art. The subject matter was also broadened to include depictions of old age and childhood, minor non-Olympian deities and secondary figures from mythology, as well as popular figures in their everyday work.
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