Potter (Beatrix). The Tale of Mr. Tod, 1st edition, London: Warne, 1912, first or second printing, half-title inscribed by author 'For Lizzie Airey in "Mr. Tod's" kitchen with love from Miss Potter Oct. 17th 12', colour frontispiece, 14 colour illustrations, numerous black & white illustrations in letterpress, scarce spotting, small surface abrasion to p.7 affecting title verso facing, pictorial endpapers, stitching strained, rear joint cracked before endpapers, original grey boards, pictorial colour panel inset to front cover (with small surface abrasion), light spotting to rear cover, front corners somewhat bumped, lightly sunned spine with short split to foot of front joint, 16moQty: (1)Footnote: Provenance: Lizzie Airey, thence by descent; sold Sotheby's, English Literature & History, July 12 2007, lot 269. Linder p.429; Quinby 21. The kitchen of the 17th century Sun Inn in Hawkshead was the inspiration for Mr. Tod's kitchen, and Lizzie Airey was the landlord's daughter. According to notes accompanying this item, Willow Taylor, author of Through the Pages of My Life: And My Encounters with Beatrix Potter, and who grew up in Sawrey when Beatrix Potter was still alive, recalled the landlord of The Sun as being "short and corpulent. His wife was little and thin." She also described how Lizzie's two brothers Jim and Fred ran a local 'hail and ride' bus service between Ambleside and the Ferry before the Second World War. Presentation copies inscribed by Beatrix Potter in the year of publication are rare.
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* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young lady and a young gentleman playing tennis, a country house and herbaceous border in the background, with lettering above and below, signed lower left, edges slightly dusty, old pin hole to upper right corner, upper left corner chipped, sheet size 36.9 x 26.8cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.
* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young gentleman driving a veteran car on a winding country road, a young lady wearing a coat with fur collar and a hat and head scarf seated next to him, with lettering above and below, signed lower right, edges a little dusty, an old pin hole to each upper corner, sheet size 36.7 x 26.7cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.
* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young lady wearing a long khaki coat, necktie, and feathered cap, with a case of binoculars slung over her shoulder, and holding 2 greyhounds on a lead, with lettering above and below (former with some previously obliterated lettering underneath just visible), signed lower left, edges slightly dusty, a few old marginal pin holes, sheet size 36.9 x 26.7cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.
* Brock (Henry Matthew, 1875-1960). Original cover illustration for 'Fry's Magazine', circa 1910, watercolour on artist's board, showing a young lady wearing a long skirt and fur hat sitting atop a 5-bar gate, a young gentleman in plus fours standing beside her leaning on the gate, and 2 bicycles propped up next to them, with lettering above and below, signed lower left, edges a little dusty, an old pin hole to each upper corner, sheet size 36.7 x 26.8cm (14.5 x 10.5ins), mounted in a clip frame (42 x 30cm)Qty: (1)Footnote: The magazine - dedicated to the sporting life - was edited by C.B. Fry. Fry was an English sportsman, politician, diplomat, academic, teacher, writer, editor and publisher, who is best remembered for his career as a cricketer. His all-round sporting ability extended to representing England at cricket and football - including an F.A. cup final appearance for Southampton - as well as equalling the world record for the long jump. Fry claimed to be able to leap from a stationary position backwards onto a mantelpiece - a move he could still execute well into his seventies apparently. More bizarre still he was reputed to have been offered the throne of Albania.
Vinyl - Rolling Stones 13 LP's to include self titled (LK 4605) -1A / -4A matrices, sticker to label, sleeve & vinyl G-, other titles Under Cover, Emotional Rescue x 2, Goats Head Soup, Still Life, Rock N Rolling Stones, Big Hits, Milestones, Through The Past (Big Hits Vol 2), Gimme Shelter, Made In The Shade, and Get Stoned. Sleeves & Vinyl Vg+ overall
Vinyl - 14 Rolling Stones LP's to include Emotional x 2, Tattoo You, Rewind, Love You Live, Through The Past (mono), Still Life, Wheels, Big Hits, It's Only Rock N Roll, Rolled Gold, Under Cover, Some Girls (no inner sleeve), Out Of Our Heads (V poor sleeve, vinyl only fair). Sleeves & Vinyl Vg overall other than where stated
Joy Packenham (Irish), a still life study of tulips in a vase, watercolour, 36.5 cm x 27 cm (Royal Institute of Watercolour Painters label to verso, with artist's name), together with Rose (early 20th century), Mediterranean Harbour scene, watercolour, signed, 28 cm x 38 cm, each framed and glazed.Qty: 2
![* WWI Letters. A revealing archive of letters concerning the soldier MP, Gerald Arbuthnot [1872-1916], comprising his own let](https://cdn.globalauctionplatform.com/a7f3d110-11d8-4af5-b517-adf200b763f9/cabca1e8-d7b8-47bd-9eed-adf90114666a/468x382.jpg)
* WWI Letters. A revealing archive of letters concerning the soldier MP, Gerald Arbuthnot [1872-1916], comprising his own letters en route to the war, and then from the Front, letters from his uncle, the Duke of Athol, from his wife and later from his friend, Alexander Irvine in the wake of Arbuthnot's death at the Battle of the Somme, including 4 letters from Arbuthnot to his aunt Lady Muir Mackenzie and 2 to his uncle the Duke of Atholl, 28 November [1914?]-4 September 1916, 22 pages, plus an autograph letter from the Duke of Atholl to Arbuthnot as the latter heads to France, 23 April 1916, 2pp., plus a letter to his wife 'Dulcie', 3 letters to Arbuthnot from his [18-year-old] daughter Cynthia including one written the day before he died, 16pp., plus a letter from Arbuthnot to his wife Dulcie, 18 September, 1916, with a transcription of the letter in Cynthia's' hand, 8vo/4o, some with envelopesQty: (15)Footnote: Letter from Arbuthnot to his uncle, the Duke of Atholl, 6 August 1916: '...The censorship nowadays is very rigorous and we are not allowed to say anything at all of our movements which makes letter writing uncommonly difficult. ....have stupidly strained my knee so have had to go sick for a few days which is a cursed nuisance...I like the life very much tho' of course it is a bit monotonous....the three months I have been out here seems like three years so many are the different impressions. To start with I was doing the ordinary company work, but since then they have switched me on to the job of intelligence officer & I run my own tiny little show which consists of observation work, sniping & if ever we get them them to open fighting, scouting....It's quite amusing and I can wander about on my own...I had quite a nice morning 'Hun shooting' a little time ago. We discovered a good place where one could get them crossing two open spaces about 30 yards across from one of their trenches. It was about 900 yards away & we were very well concealed. I lay up myself with a telescopic sight & my pipe & a man with a telescope to observe. It was d-d funny. When I started they were strolling across after a very short time they got a bit quicker, then they ran then crawled & after an hour or two there wasn't a beast on the ground. I think I hit two in about 30 shots. Doesn't sound good shooting but about 5 secs to pick up your object & shoot at 900 yards aint easy. One of them I think was 'out' all right. He dropped like a stone. The other I regret to say was only 'haunched'. He was crossing with a tin of water to a sort of covered trench & I fired just to as he was a yard or two from the opening. He dropped the tin, stuck his stomach out clapped his hand to his backside & shot into cover like a rabbit with a ferret at his tail. It was a good fat backside too! ..... with any luck it can't be so very long now. There are many signs, I think, of the acuteness they are feeling the pressure. The Hun is a determined devil & a brave man but they are getting squeezed more and more as every month goes by & if they last until next Spring it's about the utmost limit I believe. Still I fancy that the end won't come until we have beaten them from the military standpoint so much must depend on this autumn. .... This trench warfare - at least the ordinary routine of it is rather rot. You never see the enemy except occasionally in a glass & it's just shelling at intervals during the day & night varied by machine guns. You don't see the chap that hits you & never know when a shell isn't going to arrive. Conversely you don't know what damage you do yourself as a rule. The organisation of food transport etc is wonderful. We all live very well & trench rather tends to 'fat' than otherwise. Often it is difficult to get much exercise. How on earth are well going to settle down again to ordinary existence I can't think.' Transcriptions of further extracts from the letters are available on request.
840x1800mm Framed. India Ink and white Emulsion. IMPORTANT CONDITION OF SALE FOR THIS LOT: This piece forms part of the artist's A Level portfolio and must be retained by the school until October 2022. The purchaser of this piece will be given an identically framed replica which will be exchanged for the original once this is available. The replica will be produced following the sale of the piece, and may take up to 14 days. ARTIST STATEMENT: This is my first experience of life drawing. I was immediately captured by the beauty of the forms of the female body, which I had been so used to seeing in an idealised and/or sexualized way. I found joy in looking at a woman's body as it is and appreciating it as a piece of art. The middle piece is more calm and still, while the other two have a lot more energy and movement. This is partly because I did them on different weeks, and at the session where I used the white emulsion, my tic disorder was very active, so I was flicking paint and ink everywhere. I had to relinquish a certain degree of control and just keep painting. ABOUT THE ARTIST: This piece is Shortlisted in the 2021 Sovereign Art Foundation Students Prize in Guernsey. Anya created this piece aged 18 while a student at Ladies College.
670x830mm. Framed. Oil on canvas. ARTIST STATEMENT: In this work, I draw from the Guernsey folktale Mrs Mahy's Cat. The tale follows a woman who transforms into a cat in order to eavesdrop on the gossip of towns washer-women and spreads the word once she has become a woman again, unbeknown to the washers. I love the tale as it stresses the value of the spoken word narrative, one which still exists today through the form of news and gossip albeit through phones, not shapeshifting cats. I painted it in a contemporary setting with people from my life - I like the idea that the relevance underlying the tale is still there within the people within the picture, who's ancestors would've grown up hearing such tales. ABOUT THE ARTIST: Matt created this piece in 2021 while aged 21 and studying Fine Art at Camberwell College. He is a recipient of the Sovereign Art Foundation Guernsey Bursary in 2021.
ROLF HARRIS (born 1930); a signed limited edition coloured print, 'Still Life (Homage to Cezanne), no.262/695, with certificate of authenticity, 51 x 38cm, mounted but unframed. (D) Additional InformationOverall in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
RACHEL DEE; a pair of watercolours, still life, signed, 27.5 x 23cm, framed and glazed (2). (D)Additional InformationThe images are good. Each of the frames with impacts, marks and scuffs. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
J. F. SMITH; a pair of oils on board, still life fruit, each signed lower right, 20 x 29.5cm, in ornate gilt frames (2). (D)Additional InformationOne has a light scratch to the board. Minimal wear to the frames. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
CECIL KENNEDY (1905-1997); oil on canvas, still life flowers in a vase, signed lower right, 75.5 x 63cm, framed. (D)Additional InformationThe image is good. Minor wear to the frame. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
MARIE JOHNSON; 19th century oil on canvas, still life study of flowers and a birds nest with eggs, signed lower right, 17 x 22cm, framed.Additional InformationThere is a repair patch to the back in the middle of the canvas where there has been a hole in the centre, general light age wear to the canvas and frame but essentially fair.
UNATTRIBUTED; 19th century oil on canvas, portrait of a young gentleman wearing a waistcoat and jacket, 29 x 23cm and an oleograph, still life 19 x 24cm (2).Additional InformationThe portrait with extensive craqulure, there are three holes through the canvas, one is large and approx. 3cm in size. The frames with knocks and scuffs.
δ Ivon Hitchens (1893-1979)Still LifeLithograph printed in colours, circa 1938, printed by Curwen Press, published by Contemporary Lithographs Ltd., London, on wove paper, with margins, image 620 x 475mm (24 3/8 x 18 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986)."Nude lying".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés.Measurements: 73 x 100 cm; 102 x 133 cm (frame).Mallol Suazo was formed in the School of La Lonja, in Barcelona between 1929 and 1935. He was a cartoonist 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 Salon in 1936. That same year he received an award at the Spring Exhibition in Barcelona and, in 1938, the Nonell Painting Prize, awarded by the Tardor Gallery. In 1945 he became part of the group of artists of the Sala Parés, a 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, 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 and impastoed brushstroke and uses a chromatic range based on greens, grays, blues, among which the bright red of one of the vegetables stands out. In 1987, a year after his death, the Sala Parés dedicated a large exhibition in homage to Mallol. The artist is also represented in museums as important 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.
JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923)."Girl", 1882.Oil on canvas.Attached certificate of authenticity issued by Mrs. Blanca Pons Sorolla.Work exhibited at: Exhibition tribute to Sorolla. Sala Parés, 1948 (Reproduced in the catalog in black and white).Work reproduced in: Bernardino de Pantorba, The life and work of Joaquín Sorolla. Biographical and critical study. Madrid, 1970, nº1152.- Catalogue Raisonné of the artists BPS 256.Presents label of the Sala Parés (Barcelona) and the Montenegro Gallery (Vigo).Measurements: 49.5 x 37.5 cm; 63 x 50 cm (frame).During the years 1881 and 1882 Sorolla, traveled frequently to Madrid, where he came into contact with the painting of the Prado Museum in Madrid, opting for the baroque decided to copy the great masters such as Velázquez or Ribera. In this painting of a young Sorolla, we can already appreciate that loose brushstroke so characteristic of his painting, although it is still somewhat timid, in relation to his later paintings. The darkness of the background lets the influence of the great baroque masters pulsate. However, the luminosity of the white of the neck, added to the pearly and pink skin of the protagonist, allows us to perceive a certain luminosity in the scene.Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes taught by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity would remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain.
IGNACIO DÍAZ OLANO (Vitoria, 1860 - 1936)."Las langosteras", ca.1925.Oil on canvas.Signed in the lower right corner.Work reproduced in color in "Basque painters and sculptors of yesterday, today and tomorrow", page 307.Measurements: 100 x 90 cm; 120 x 110 cm (frame).The production of Ignacio Díaz Olano is inscribed within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century. In this canvas, Olano offers us a realistic portrait of local customs, centered on the representation of two lobsterwomen from the Basque Country. The two women converse relaxedly beside the estuary of the village, while the basket with the lobsters caught during the day rests next to them. The clothes they both wear, with clogs and wide aprons, as well as the regional hairstyles they wear, denote the painter's search to reflect the types and customs of the Basque Country, which make it different and unique. In this boom of regionalist art, painters like Olano vindicated their own roots and, above all, the traditions and forms of dress, at a time when customs were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus became in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation.Ignacio Díaz began his training in Vitoria, and then studied in Barcelona, with a scholarship from the Vitoria City Council, between 1876 and 1880. In Barcelona his teacher was Gustavo Bacarisas, and he studied at the School of Fine Arts. After finishing his apprenticeship he returned to his native city, where he collaborated for some time in the weekly magazine "El Danzarín", signing his drawings with the pseudonym "Galop". Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing. He also worked in the French capital as a set designer for the Opera House. In 1894 he went to Rome with his friend Felipe Arrieta. After two years in Italy, in 1896 he took up permanent residence in Vitoria. Between 1890 and 1925 Díaz participated in multiple editions of the National Exhibitions of Fine Arts, obtaining a bronze medal in 1895 and a silver medal in 1899 and 1901. He taught at the School of Arts and Crafts of Vitoria, and was a professor of drawing at the Institute of the same city. His work is mainly costumbrista, and is impregnated by a great naturalism. He was also a great portraitist, having also cultivated still life and landscape. In 1963 the Provincial Council of Alava held an anthological exhibition of his work in his honor, exhibiting one hundred and fifty-eight works. The critic Mario Ángel Marrodán stated: "The ardent and powerful lyricism of his painting is the result of the fusion or confrontation of man with his time, of the painter and his environment, or of the artistic reality between rustic and wild from which he has extracted the new fruits of the work of art". Ignacio Díaz is currently represented in the Prado Museum (his work is on deposit in the Fine Arts Museum of Asturias), the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Alava, the City Hall and the School of Arts and Crafts of Vitoria, the Caja Vital Foundation and the collection of the Bank of Vitoria, as well as in numerous private collections.
RAMÓN DE ZUBIAURRE AGUIRREZÁBAL (Garay, Vizcaya, 1882 - Madrid 1969)."The julep", 1966.Oil on canvas.Signed, dated and titled in the lower left corner.Work reproduced in color in:- "Ramón de Zubiaurre. The painter and the man", Takeshi Mochizuki, publications of the Diputación Foral del Señorío de Vizcaya, p. 189. This publication indicates that Ramón Zubiaurre exhibited the work at the Sala Toisón in Madrid, thus fulfilling the wish to be judged by his peers at the age of 75.- "Basque painters and sculptors of yesterday, today and tomorrow", p. 273.Provenance: Formerly Luis Benito del Valle collection (Bilbao).Measurements: 68 x 63 cm; 95 x 110 cm (frame).Basque traditions were a recurring theme in the production of Ramón de Zubiaurre, who sought to document the ethnographic values of his region, as was the practice of regionalist painters in the rest of Spain at the time. In the exceptional canvas in question, Zubiaurre immortalizes a group of village women playing a lively game of julep. In spite of the apparent banality of the theme represented, Zubiaurre recreates an interesting link between all the characters that, far from seeming casual, becomes a declaration of intentions. And the fact is that the game is not limited to the cards resting on the table, or to those that the women with white cloths on their heads play between their hands, but, behind them, there are two other female figures, accomplices in the game. This time with black cloths, both women observe the cards of the players. To the right of the composition, standing to control all the movements, a villager indicates to her ally in front of her to watch her movements, while she looks back at her. Behind her, another villager in black watches the play. The defiant gaze of the central figure, who has put on her glasses so as not to lose any detail, and the figure who at that precise moment throws her card, complete a fascinating game that, beyond the cards, is extrapolated to reality. The narrative of the scene is reinforced by the double still life exercise on the right of the painting. Behind this eloquent genre scene, we see an imposing landscape dotted with a village and a hamlet, worked with a very varied palette in which green tones predominate, very elaborate and varied. The painter plays with the intensity and contrasts of light to construct the space, and attenuates the colors in the undulating mountains in the background, reflecting the humid atmosphere that dominates the landscape.Brother of Valentín de Zubiaurre, also a painter and also deaf and mute like him, he always maintained a close relationship with his brother, and in fact both began their careers hand in hand with his sister Pilar, who was in charge of selling his paintings and organizing numerous exhibitions, both in Spain and abroad, in the United States, Mexico, Argentina, Peru, Chile, Germany and other countries. Between 1903 and 1912 he received a scholarship from the Diputación de Vizcaya, which allowed him to devote himself fully to painting. From the beginning he will be closely linked to the National Exhibitions of Fine Arts held in Madrid, as well as to the cultural life of the Spanish capital. In fact, he studied at the Royal Academy of San Fernando, and in 1905 he finished his studies and moved to Paris to complete his training. He finally returned to Madrid, settling with his brother. In 1918 he was appointed a member of the Hispanic Society of America in New York, and in fact he remained in the United States between 1940 and 1951. He is currently represented in the Reina Sofia Museum in Madrid, the Chicago Museum, the National Museum of Fine Arts in Buenos Aires, the Fine Arts Museums of Bilbao and Alava, the San Telmo Museum in San Sebastian and the Provincial Council of Gipuzkoa, among other collections.
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte et bleu composition/ composition in blue", 1960.Oil on canvas.Work reproduced in the Catalogue Raisonné, Volume II, 1945-1972, p. 408.Provenance: Simon Collection (USA), bought directly from the artist.Signed and dated in the lower right corner.Measurements: 81 x 100 cm; 107 x 126 cm (frame).Lyricism and color are the undisputed protagonists of this piece, in which blue dominates the entire composition, creating the forms of this synthetic still life, through tonal gradations. The subtlety of the blues, added to the elements of fluid and clear geometries, show us the characteristic style of the painter's last stage, which was called "the white manner". The white manner includes works after 1955, which the artist himself contextualized as follows: "I continued to aspire to greater luminosity, disembodying the figures more and more at the same time. An attempt, in a certain way, to approach what the abstractionists aspired to by purely figurative means and, above all, to achieve something different from all those schools or movements, to achieve a special transparency. I wondered inwardly where such experiences would lead me... I think I know now: for the last two years I have returned to my first attempt to achieve a plastic synthesis of the true. My painting, which was once dark, is today clear".A contemporary Spanish painter, belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. 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-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant".
Frederik Marinus Kruseman (Dutch 1816-1882)Villagers in a snowy landscapeOil on panel Signed (lower right); inscribed and dated 1881 (verso)59 x 48cm (23 x 18¾ in.) The present lot was painted in 1881, a year before the artist's death and during his second period of living in Brussels. The Belgian countryside was a constant source of inspiration to the artist who used not only the frozen waterways as subjects but also the ruined monuments, abbeys, and houses which he made detailed studies of and then used in his compositions. Villagers in a winter landscape is a good example of this with the large snowy red brick house to the right overlooking the icy landscape animated by the figures below.Kruseman was a Dutch painter, born in Haarlem, but lived in Brussels for two separate periods in his life, first between 1841 and 1852, the second time from 1856 until his death in 1882. For Kruseman, the city was a place where Dutch artistic influence was still strong, and the expanding middle class was creating a better demand than in his native Holland. During 1844 Kruseman visited Paris briefly where he would have been exposed to the work of the more progressive artists of the Barbizon School. It was after that trip, when the landscape tradition was splintering into various groups that Kruseman committed himself to the tradition of Koekkoek and the Dutch Romantic School.The hallmarks of Frederik Marinus Kruseman's mature style for his winter scenes are all present in Villagers in a winter landscape: the large house, the carved tracks in the snow, the leafless trees set against the sky with the suggestion of a city in the distance and the characters on the ice and snowy path enjoying the winter weather. This was a formula Kruseman early on in his career and which sold well for over forty years.
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