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Lot 1100
Attributed to Lawrence Biddle (1880-1968)Still life of mixed flowers in a blue vaseBears signature, oil on panel, with M. Newman limited, London label to verso, 19.5cm by 27cmCondition report: Some craquelure and some paint loss to the flowers. The frame with several losses and areas of touch-up to the gilding.
Lot 481
Helen Van Wyk (American, 1930-1994). Group of two still life paintings in oil on canvas. One titled "Rockport, Massachusetts" depicts a basket of lobsters surrounded by brightly colored fishing equipment. The other depicts two woven baskets overflowing with fresh, vibrant fruits and vegetables.Provenance: from the collection of an important Minnesota institution.(Rockport, Massachusetts) Sight; Height: 27 in x width: 33 1/4 in. Framed; Height: 34 in x width: 40 in. (Still Life with Fruit) Sight; Height: 27 in x width: 33 1/4 in. Framed; Height: 34 in x width: 40 in.
Lot 482
Cadwallader Lincoln Washburn (American, 1866-1965). Oil on canvas titled "Still Life With Jars" depicting three ceramic jars sitting on a table. Signed along the lower right.Provenance: from the collection of an important Minnesota institution.Sight; Height: 24 in x width: 29 in. Framed; Height: 37 in x width: 41 3/4 in.
Lot 486
Charles Levier (French, 1920-2003). Oil painting on canvas still life titled "Devant un Village," depicting a variety of fruit on a table next to a vase of flowers. A window behind the table shows a hilly village. Signed along the lower left. Further signed and inscribed "l'atelier a Cagnes" along the verso. A paper label along the verso indicates the provenance of the work.Provenance: Emile Walter Galleries, New York, New York, purchased 1969; Fisher Controls Company, Iowa; Private collection, Minnesota.Unframed; Height: 30 in x width: 40 in. Framed; Height: 37 1/2 in x width: 47 1/2 in.
Lot 523
Louis Catusco (American, 1927-1995). Vibrantly colored abstract composition on paper titled "Still Life." Mixed media on paper. Signed along the upper right.Provenance: Distinguished corporate collection, Minnesota.Sight; Height: 29 3/4 in x width: 24 1/2 in. Framed; Height: 30 3/4 in x width: 26 in.
Lot 9
JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986)."Seated female figure", 1967.Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés.Measurements: 81 x 60 cm; 100 x 76 cm (frame).Mallol Suazo trained at the La Lonja School in Barcelona between 1929 and 1935. He was a draughtsman as well as a painter, and published humorous illustrations in "En Patufet", "Virolet" and "L'Esquitx". The first exhibition of his work took place at the Barcelona Contemporary Art Fair of 1936. That same year he was awarded a prize at the Spring Exhibition in Barcelona and, in 1938, the Nonell Prize for Painting, awarded by the Tardor gallery. In 1945 he became a member of the group of artists at the Sala Parés, the gallery where he met the collector Josep Omar Gelpi, who became his dealer from then on. Mallol did not allow himself to be dragged along by the prevailing artistic trends, always remaining faithful to his own realistic-poetic language, and in this work Mallol Suazo offers us a still life made up of fruit and various ceramic pieces arranged anarchically against a modern background of white and green stripes. The artist draws the forms with a broad, free, impastoed brushstroke and uses a chromatic range based on greens, greys and blues, among which the bright red of one of the vegetables stands out. In 1987, a year after his death, the Sala Parés devoted a large exhibition in homage to Mallol. The artist is also represented in such important museums as the National Art Museum of Catalonia, the Museum of Valls, the Historical Archive of the City of Barcelona and the Abbey of Montserrat, as well as in important private collections.
Lot 96
ANTONIO MUÑOZ DEGRAÍN (Valencia, 1840 - Málaga, 1924)."Still life with grapes".Oil on panel.Signed in the lower right corner.Size: 31 x 50 cm; 56 x 75 cm (frame).Antonio Muñoz Degraín began studying architecture in his youth by his father's decision, although he soon abandoned it for painting. A student at the San Carlos Academy of Fine Arts in Valencia from the age of twelve, he was a disciple of the painter Rafael Montesinos, although his training was essentially self-taught. He took part assiduously in the National Exhibitions of Fine Arts from 1862 to 1915, and it was his successes in these competitions that would have a decisive influence on his artistic career. In 1862 he was awarded an honorary medal, third in 1864 and second in 1867 and 1871. In 1870 he was asked to decorate the Cervantes Theatre in Malaga and settled in the Andalusian capital for good. He married there and years later was appointed supernumerary professor at the San Telmo Royal Academy of Fine Arts (1879). At the Academy Muñoz Degraín taught a whole generation of artists, including the very young Picasso, who always showed him affection and respect. In 1881 the painter won a first medal at the National Competition with "Othello and Desdemona" (Museu do Chiado, Lisbon), which gave him a government pension to finally make his longed-for trip to Rome, also visiting several cities in Tuscany and Venice. In Italy he produced his great masterpiece, "The Lovers of Teruel" (Museo del Prado), one of the masterpieces of 19th-century Spanish painting, which he sent to the National Exhibition in Madrid in 1884, winning the first medal. From then on, his growing prestige brought him numerous honours and public rewards. He was made a Knight of the orders of Isabella the Catholic, Charles III and Alfonso XII, received the medal of honour at the National Exhibition of 1910 and in 1898, on the death of Carlos de Haes, was awarded the chair of landscape painting at the San Fernando Academy in Madrid. He was appointed a member of that institution the following year and its director in 1901. He was also president of the Círculo de Bellas Artes in Madrid. Muñoz Degraín also enjoyed notable success abroad, presenting his paintings at the Universal Exhibitions of Philadelphia (1876), Munich (1883) and Chicago (1893). He is currently represented in the Museo del Prado, the Museo de Bellas Artes in Valencia and others.
Lot 432
A GROUP OF TWO STILL LIFE IVORY NETSUKEJapan, 19th century, Edo period (1615-1868)The first a carved as two hozuki (winter cherries) attached to a stalk and with foliage, the underside signed, and the second depicting a cluster of various shells, one of them with an inner life reminiscent of the famous clam's dream story.LENGTH 4 - 4.5 cmCondition: Good condition with age cracks. The first with two tiny chips to the leaves. Provenance: German private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
Lot 437
TWO STILL LIFE IVORY NETSUKE WITH SMALL CREATURESJapan, 19th century, Edo period (1615-1868)The first carved as a cluster of ginkgo nuts and a snail on ginkgo leaves and the second depicting a classic Chinese motif, a squirrel amongst grapes attached to a stalk and with nibbled foliage, the eyes inlaid, good carving and inking.LENGTH c. 4.3 cm eachCondition: The second in very good condition, the first with minor fritting to the leaves, otherwise good condition. Provenance: German private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
Lot 1197
UTAGAWA HIROSHIGE (1797 - 1858), BAY AT KOMINATOJapan, c. 1850sWoodblock print, ink and color on paper. Vertical Oban. Signed Hiroshige ga and published by Koshishei. Entitled Awa, Kominato no ura (Kominato Bay, Awa Province), from the series Rokujuyoshu meisho zue (Pictures of famous places in the sixty-odd provinces). Framed (no glass).SIZE of the sheet 24.5 x 36 cm, framed 37.5 x 50 cmCondition: overall fine condition - colors slightly faded, very minor material loss along the margin. Mounted at the upper margin to a passepartout, old and used frame.Provenance: German private collection.Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Auction comparison: Compare with another edition of this print sold at Christie's New York, An Important Collection of Japanese Prints, 25 March 2003, lot 220 (sold for 5,975 USD).
Lot 41
Cículo de JUAN DE VALDÉS LEAL (Seville, 1622 - 1690)."Saint Francis of Borgia".Oil on canvas.Repainting.Lacking in the frame.Measurements: 64 x 51 cm; 82,5 x 67,5 cm (frame).Contemporary of Murillo, Valdés Leal was his biggest pictorial rival in the Seville of his time. However, their language differs greatly. Murillo's gentleness contrasts with the latter's harshness and dramatic verism. In this representation of Saint Francis Borgia, whom we recognise by the skull and imperial crown he holds in his left hand, the saint is depicted with a countenance reminiscent of other religious figures depicted by Valdés Leal, starting with the painting of the same figure that he produced for the pictorial series on the life of Saint Ignatius of Loyola (now in the Museo de Bellas Artes in Seville). Under the lowered eyelids, black eyes of impenetrably deep expression, together with the frown and half-open lips, reveal with intensity a moment of inner transformation. The dark, velvety-textured clothing accentuates by contrast the naturalism of the flesh tones, both on the face and on the hands. The glittering jewels on the skull denote particular skill in the use of glazes and glitter. The psychological depth and the symbol of the crowned skull convey the horror at the discovery of the decomposition of the Empress Isabella of Portugal when she was about to hand over her corpse in Granada. The jewels symbolise the saint's renunciation of all earthly goods. Especially known for his paintings of vanitas (such as those he painted for the church of La Caridad in Seville), Valdés Leal nevertheless worked on all kinds of religious themes. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera el Viejo, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the San Andrés in the church of San Francisco in Cordoba, dated 1647. In it he was able to combine the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating the event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion that Palomino took advantage of to meet him personally. This lends further value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornament of all good letters, not forgetting those of poetry".
Lot 46
17th-century Dutch school. Circle of WILLEM KALF (Rotterdam, 1619-Amsterdam, 1693)."Still Life with Fruit.Oil on panel.Size: 27.5 x 22 cm; 44 x 43 cm (frame).Due to its technical and formal characteristics, the present work can be related to the circle of Willem Kalf, one of the most important Dutch still life painters of all times. It is a small work, faithful to his style, captured in the foreground, in which few but select objects stand out on a table against a dark background. As in many of Kalf's works, there is almost always a bone china bowl, often tilted so that the fruit falls out of it. Willem Kalf was born in Rotterdam in 1619. He was previously thought to have been born in 1622, but research conducted by the archive of H. van Gelder established the painter's correct place and date of birth. In the late 1630s Willem Kalf travelled to Paris and spent time in the circle of Flemish artists in Saint-Germain-des-Prés, Paris. In Paris, he painted mainly small-scale rustic interiors and still lifes. Kalf's rustic interiors are usually dominated by groups of vegetables, buckets, pots and pans, which are arranged in the foreground (e.g. Kitchen Still Life, Dresden, Gemäldegal, Alte Meister). The figures usually appeared in the blurred darkness of the background. Although painted in Paris, paintings of traditional works in Flanders in the early 17th century, by artists such as David Teniers the Younger. The only indication of the Flemish origin of the paintings is that Flemish exponents of the same genre would not have been depicted in their works. The rustic interiors of the calves had a great influence on French art in the circle of the Le Nain brothers. The semi-monochrome still lifes that Calf created in Paris from a link to the banquet or "small banquet pieces" by Pieter Claesz, Willem Claeszoon Heda and others in the 1630s. During the 1640s, Calf further developed the bench into a novel form of sumptuous and ornate still lifes (known as show still life), depicting rich groups of gold and silver vessels. Like other lives of this period, these paintings often expressed vanitas allegories. Kalf's still-life paintings vary little in their structure, and most of them actually present the same objects. There is crockery, with gold and silver vessels, many of which have been identified as goldsmiths, such as Johannes Lutma, and many of which have been identified as goldsmiths.
Lot 5
Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684)."Virgin spinner.Oil on canvas. Re-tinted.It presents repainting.Measurements: 65 x 45,5 cm; 79 x 59 cm (frame).In this devotional work Mary girl appears seated, spinning with a distaff and a spindle. The iconography refers on this occasion to the Protoevangelium of James, one of the apocryphal Gospels, in which it is narrated how, as a child, Mary was commissioned by the priests to make the veil of the Temple, which was torn when Jesus died. On the other hand, the Gospel of Pseudo-Matthew recounts the Virgin's mastery of woollen work in her youth.The work has aesthetic similarities with the painting by Josefa de Ayala y Cabrera known as Josefa de Óbidos, an artist from the second half of the 17th century, who developed her career in Portugal. Her father, Baltasar Gómez Figueira, went to Seville around 1626, at a time when Portugal and Spain were unified. He began working in the workshop of Francisco Herrera the Elder, Josefa's future godfather, with whom he spent the first years of his life before returning to Óbidos, his father's hometown. Josefa decided to devote herself to painting, beginning to work alongside her father. One of the first genres they developed and thanks to which they gained fame and fortune were still lifes, as it was a subject that was not practised in Portugal and proved to be a fantastic commercial success. He had a close relationship with the ecclesiastical sphere, which facilitated the commissioning of numerous works in churches and convents. His fame continued to grow after he was commissioned to paint the famous portraits of the royal family. His painting, as can be seen in this work, shows the influence of the tenebrist naturalism that characterised his father's style, but he developed his own personality as a reflection of a particular poetic intuition, with a loose palette and free of academic impositions, focusing on the detail of the decorative elements that populate his canvases. In 2015 the Museum of Ancient Art in Lisbon held an exhibition dedicated to this great artist as the architect of the invention of the Portuguese Baroque, emphasising her importance as one of the few outstanding painters in the history of modern art.
Lot 63
17th century Spanish school."Vanitas".Oil on canvas on its original canvas.Exteriors cut.Measurements: 31 x 40 cm.To capture the fleetingness of life was one of the themes that most concerned the baroque painters. Vanities denounce the relativity of knowledge and the vanity of the human race subject to the passing of time, to death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very common as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas. The artist of the present composition offers us a skull, the quintessential symbol of the vanitas, stripped of any narrative element that might hinder its reading.
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