After David Hockney, three exhibition posters to include: two copies of Celia in a Black Dress with White Flowers, 1972, 75 x 50cm and Still Life, Taj Hotel, Bombay, 1977, 68 x 48cmCondition report: The two Tate exhibition prints are framed in slim modern dull chrome frames (The glass is smashed in the bottom right corner of one of these). The other is in a modern slim chrome.The two Tate prints appear to be in a good condition with no major signs of damage, repair, or warping. There are general signs of surface dirt on both. The other has no major signs of serious damage or repair. There is some slight signs of warping and a small crease - approx 2cm in length - in the bottom right corner. Small specs of foxing are visible in the lower left.
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17th century Spanish school. Circle of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690)."Tobias and the Archangel Saint Raphael".Oil on canvas. Relined.Size: 71 x 51 cm; 83 x 74 cm (frame).Placed in a mountainous landscape and on the bank of what looks like a stream, two figures, the Archangel Saint Raphael and Tobias, are presented in the foreground. A dark wooded landscape adds a certain dramatic presence to this tranquil landscape. The deuterocanonical book of Tobit or Tobit tells the story of the two who share this name in the Bible, father and son. The latter is accompanied by the Archangel Raphael, sent by God to his aid, on a journey from which he returns with remedies (taken from a fish that the archangel makes him catch in the waters of the Tigris River) for his father Tobiah's blindness and to scare away the demon that killed all the men Rachel married. It is this fishing event that is depicted in the oil painting. Due to its formal characteristics, this work can be related to the circle of Valdés Leal, a prolific and powerfully inventive artist active in Cordoba and Seville. Despite the difficult character with which he is portrayed in the sources, the fact is that Valdés Leal's work is quite varied and is in line with the painting that was being done in his circle. 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 the Elder, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the Saint Andrew 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 this 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, and Palomino took the opportunity to meet him in person. This gives added 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". Shortly before his death he suffered an illness that prevented him from continuing to work, forcing him to leave his commissions in the hands of his son, a painter in his workshop.
JOSÉ FELIPE PARRA PIQUER (Valencia, 1824 - ca.1864); second half of the 19th century."Still life with flowers".Oil on canvas.Presents a period frame made of stucco.Signed in the lower left corner.Measurements: 49 x 32 cm; 68 x 51,5 cm (frame).Glass vase that houses a bouquet of flowers with a vertical and symmetrical composition, placed on a table, which stands out for the golden decoration. The vase is placed on a neutral and dark background on which stand out, directly illuminated only by the colour of the flowers themselves. The flowers are very large and open, showing their moment of maximum splendour, worked in mainly pink and blue tones, and rigorously ordered. The composition is sober, clear and geometric, with a static arrangement of the flowers, except for the one on the right-hand side of the table.A painter specialising in still life and flower paintings, José Felipe Parra was also known for his paintings on historical themes, particularly his canvas "Charles V picks up Titian's fallen brush", now in the Museo de Bellas Artes in Valencia. The son of Miguel Parra, an outstanding painter of flowers and still lifes and painter to Ferdinand VII, he studied at the San Carlos School of Fine Arts in Valencia. At the age of thirteen he began to stand out as a flower painter, and during his student years he won several prizes in all academic disciplines and was finally appointed academician of merit in 1843. His pictorial work is generally restrained in colour, characterised by a very correct draughtsmanship and reveals a profound influence of the Baroque still-life painters, especially the Spanish, Flemish and Dutch. He held several exhibitions of his work, notably those held at the Academia de San Fernando in Madrid in 1832 and at the Liceo in Valencia in 1845. He also took part in the National Exhibitions of Fine Arts between 1860 and 1964. José Felipe Parra is represented in the Museo de Bellas Artes de Valencia, the Museo Nacional de La Habana and the Museo de Cerámica y Artes Suntuarias González Martí, as well as in various private collections.
Philippine school; 18th century."Immaculate Conception".Carved and polychromed wood.Polychromy from the end of the 18th century.It presents faults in the carving.Measurements: 25,5 x 9,5 x 6,5 cm.In this sculpture of devotional character, the author presents us with the image of the Virgin as the main character. Standing on a base decorated with the moon and with her hands on her chest, although they are not visible due to the loss of the carving, this iconography alludes to the dedication of the Purísima. The definitive iconographic image of the Immaculate Conception took shape in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and the moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, etc. Seventeenth-century artists faithfully maintained the iconographic type but dispensed with or reduced the symbols of the litanies, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality. This trend culminated in the 18th century, when we find compositions such as the one we present here, still with some iconographic attributes but already greatly reduced. Given the importance given to religious images in the Hispanic world, during the 17th and 18th centuries ambitious pictorial series and extensive iconographic programmes were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or medium, these images fulfilled the aim of sacralising everyday life beyond the altars. The Granada school stood out during this period, receiving and developing the stylistic patterns characteristic of the Baroque.
Italian school; 17th century."Still life with fish and pots".Oil on canvas. Re-coloured.With repainting and restorations. Frame with damages.Measurements: 82 x 93 cm; 100 x 120 cm (frame).In this canvas the author offers us a still life rooted in the baroque tradition of the genre, both for its composition and for the chromatic and light treatment, the care of the qualities and the precise and detailed brushstroke. As was the case with many of the Baroque masters, especially the Dutch, here we see the elements that make up the still life arranged in a disorganised but clear manner on a flat surface that runs parallel to the lower edge of the painting. Furthermore, in the same tradition, the still life is placed in the foreground against a neutral, dark background that delimits the space, focusing the viewer's gaze on what the painter considers most important.While during the first half of the century the still life was ordered and clear, with a classicist aesthetic, the works of the second half of the century have very different characteristics, the result of the stylistic evolution towards the full Baroque, leaving behind the dominant classicism of the beginning of the century. In works such as the one we present here, the taste for naturalism is maintained, leading the author to describe not only the details in detail, but also to convey their different tactile qualities. This work presents. It is a dynamic composition in terms of the arrangement of the elements. It is a composition centred and dominated by geometry, fleeing from the open and dynamic structures, full of diagonals, of the full baroque. The lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the Tenebrist Baroque, which reached these still-life painters and lasted until well into the 18th century.The still life or still life occupied the lowest rung of the hierarchy of pure genres in the history of art, yet it became increasingly popular with buyers. In addition to the independent subject of still life, still life painting encompasses other types of painting with prominent still life elements, usually symbolic, and images that rely on a multitude of still life elements apparently to reproduce a part of life.
D James 70 - sail boat at sea, oil on canvas, signed lower right 25.5cm x 15.5cm framed; lakeland landscape at sunset with hills, oil on board, artist monogram HF to lower right and dated 1921 25cm x 31.5cm unframed, and another in the same hand framed still life of a glass vase with flowers, signed indistinctly to lower left (4) Location: LWM
A PAIR OF DUTCH PAINTED MIRROR STILL LIFE PICTURES IN THE MANNER OF JEAN-BAPTISTE MONNOYER, 18TH CENTURY in Chinese reverse glass style, depicting flowers in a basket and an urn, in ebonised wood frames (2) 11 x 15cm Provenance The Australian writer Barbara Janet Baynton, Lady Headley (1857-1929) and by descent.
A miniature Coalport vase and coverlate 20th centurynumbered 36 of a limited edition of 50, of typical form with twin rams head handles and a small painted still life panel of fruit against an overall dark blue and lemon ground with gilded flowers, indistinctly artist signed, printed factory marks,13cm highCondition report: In a good condition with no damages or restoration.
JUAN BARJOLA (Torre de Miguel Sesmero, Badajoz, 1919 - Madrid, 2004)."Girl, figure".Marker pen on canvas.Signed in the lower right corner.Attached certificate issued by José Antonio Gadea.Measurements: 70 x 50 cm, 82 x 62 cm (frame).Belonging to the current of representational expressionism, Juan Barjola is one of the most outstanding Spanish painters of the second half of the 20th century. Even as a child he showed a love of drawing, which led his parents to guide him along the path of art. At the age of fifteen Barjola arrived in Badajoz to begin his training, and entered the city's School of Arts and Crafts. Fully committed to his incipient career, in 1943 he moved to Madrid, where he first studied at the School of Arts and Crafts in Calle La Palma and later at the San Fernando School of Fine Arts. At the same time, he furthered his training at the Prado Museum, where he copied Velázquez and interpreted Goya, Brueghel, El Greco and Bosch. During this period, which ended in 1950, Barjola produced a series of academic works of a naturalistic style, with themes taken from family life, suburban characters and other genre scenes. Towards 1950 he began a new post-cubist phase, the prevailing trend in Madrid at the time due to the influence that Daniel Vázquez Díaz exerted on an entire generation. During these years Barjola would develop faceted images, with a flat treatment and cold, bluish colours. At the same time, he began to develop a new, more constructive stage, marked by earthy colours. In 1957 Barjola made his solo debut at the Abril gallery in Madrid, and that same year he held two more solo exhibitions in Brussels, at the Theatre and Vallvora galleries. He then embarked on a brilliant exhibition career that took his work to Europe, Japan, the United States and Latin America. Around 1958 he began a short but intense period in which he experimented with an abstract language in which the pictorial material took centre stage. His work was now marked by thick, sumptuous impastos of sordid, dark colouring, which made up abstract, organic still lifes. This was the heyday of the material abstraction led by Tàpies from Barcelona. A year later, without the thick impasto disappearing, the organic stains began to be resolved into human embryos, the result being a return to figuration in line with the international trend initiated by Francis Bacon. Barjola thus became the main Spanish representative of the New Figuration. At the same time his work became increasingly recognised; in 1960 he received a grant from the Juan March Foundation which enabled him to travel to Paris and Belgium, and in 1963 he was awarded the Eugenio D'Ors Medal by the critics. That same year he exhibited at the Dirección General de Bellas Artes, and shortly afterwards he won the National Drawing Prize at the National Exhibition (1968). Towards 1964 his work underwent a new evolution, marked by the paintings of Velázquez, Goya and El Greco.
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Bird that turns into gold".Oil on canvas.Signed in the lower right corner and titled on the back.Measurements: 64 x 80 cm; 78 x 94 cm (frame).A large format work which presents us with a discordant world, where through a realistic language, the author constructs a fantasy.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.
CRONICA TEAM (Valencia, 1964 - 1981)."National Still Life", 1972.Offset printing on cardboard. Copy H.C.Signed, dated and justified.Measurements: 34 x 20,5 x 34 cm.This is a sculpture made using the offset printing technique, superimposed on cardboard to create the effect of depth. It is a fold-out in a cardboard folder.Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, the Fundación Juan March and the Museo Patio Herreriano in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organised at the Museo de Arte Abstracto in Cuenca.
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