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Lot 82
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Fundació Joan Miró", 1975.Lithograph, copy 21/99. Avant la Lettre print run.Signed and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo. 1972-1975", Vol. V, Maeght Editeur, p. 140, ref. 1031.Size: 70 x 50 cm; 87 x 67 cm (frame).Joan Miró was one of the great international figures of 20th century art. He trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the art promoter Joan Prats. Thus, from his formative years he was in direct contact with the most avant-garde circles in Barcelona, and as early as 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These were the crucial years of his artistic career, during which Miró discovered his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of Surrealism, was grouped. Thus, under the influence of the Surrealist poets and painters, with whom he shared many of their theoretical approaches, his style matured; he tried to transpose Surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the 1930s onwards Miró established himself as one of the leading figures on the international art scene and one of the key artists of the 20th century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures and the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon returned to painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, from 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York devoted a retrospective exhibition to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington and the MNAM in Paris.
Lot 16
Holme CardwellA carved white marble group of a classical shepherd youthRome, mid 19th centurysigned Holme Cardwell Fecit, Roma and indistinctly dated on later stone rectangular plinththe figure 116cm high, the plinth 77cm high by 71cm wide by 48cm deepProvenance; The residual contents of Bixley Manor by instructions of the executors of Sir Timothy Colman KG. Holme Cardwell, a native of Manchester, attended the Royal Academy School in London in 1834. Probably aged 19 (although there is some uncertainty over his year of birth, his gravestone registers 20 May 1813), he was recommended to the school by Sir Francis Chantrey RA. Building a considerable reputation for himself, including a silver medal for a model in 1839, he left London for Paris in 1841 to study with David d’Angers (1788-1856). He probably stayed in Paris for three years, training at the Académie Royale, before moving to Rome. In the following years of his career, he was to move between Rome and London several times, settling primarily in Rome. Active within the milieu of British expatriate artists and sculptors in Rome, he acquired many admirers, including the renowned sculptor John Gibson RA (1790-1866). Cardwell exhibited at the Royal Academy between 1837 and 1856. He had a tendency for large or monumental marble groups, including the ‘colossal’ Good Samaritan (Roscoe, op. cit., p. 194), a figure of Sabrina, and a Cupid and Pan. The treatment of this neoclassical youth shows similarities to John Gibson, who was an admirer of Cardwell’s work and Joseph Gott, 1785-1860 both of whom were similarly working in Rome in the mid 19th century executing commissions for English aristocracy doing the Grand Tour. Joseph Gott in particular, was renowned for his realistic portrayal of dogs, most especially whippets and greyhounds, which he often incorporated into classical groups as in this charming composition in which an Arcadian shepherd leans languorously on a staff with a dog gazing wistfully up at his master. Garden StatuarySculpture
Lot 45
Eneri Prosperi: An Henri studio life bronze of children standing on a tree trunk1970sstamped Bronze Elite by Henri weathered green patination230cm highEneri Prosperi was born in Bagni di Lucca in tuscany in 1910 and later emigrated to America, where he founded the Henri Studio in Chicago. Specialising in both composition stone and bronze, they produced a range of garden sculpture. He died in 1990.SculptureStatue
Lot 265
18 CARAT YELLOW GOLD 5 BAR LINK NECKLETT WITH LARGE PENDANT 18 INCHES LONG, AMETHYST OVAL CENTRE STONE 20X17 MM SET IN RUBOVER SETTING. OUTSIDE RIM CONSISTING OF DOUBLE ROWS OF DIAMONDS. 24 TAPERED BAGUETTE RUBIES SURROUNDED WITH TRIPLE ROWS OF CLAW SET DIAMONDS. TOTAL WEIGHT 72GMS, DIAMOND WEIGHT 3.00 CARATS
Lot 394
Dali, Salvador - - Alain Decaux u. Léon Zitrone. Les Chevaux de Dali. Préface de Yves Saint-Martin. Mit 1 handsignierten und 18 im Stein signierten Original-Farblithographien sowie einer Original-Kupferplatte als Deckelillustration von Salvador Dali. Paris, Armand et Georges Isra�l, 1983. 44 Bll. (lose Bogen) in OKart.-Umschlag in OVelours-Schuber mit eingelassener, geschlagener Messing-Relief-Plakette "Le Picador" (ausgeführt von Dermont-Duval). (Schuber am Rand leicht angeschmutzt, Einband sehr sauber und wohlerhalten.) Exemplar der Vorzugsausgabe mit einer von Dali handsignierten Lithographie. Nummeriertes Exemplar. Druckvermerk vom Verleger signiert. Breitrandiger Pressendruck auf kräftigem weißen Vélin d'Arches. Die Tafeln jeweils mit Trockenstempel des Verlags im unteren weißen Rand. Druck der Lithographien bei Claude Jobin. Die aufwendige Kassette wurde im Atelier Dermont-Duval in Paris gefertigt. Die mitunter recht dynamischen Pferdedarstellungen Dalís finden sich motivisch bereits in der bei Wolfensberger gedruckten Edition Le Chevaux Daliniens von 1970/72. With 1 hand-signed and 18 original colour lithograph signed in the stone as well as an original copper plate as cover illustration by Salvador Dali. Copy of the special edition with one lithograph handsigned by Dali. Numbered copy. Printing note signed by the publisher. Press print with wide margins on strong white Vélin d'Arches. The plates each with dry stamp of the publisher in lower white margin. Lithographs printed by Claude Jobin. The elaborate cassette was made in the Dermont-Duval studio in Paris. The sometimes quite dynamic depictions of Dalí's horses can already be found in the 1970/72 edition Le Chevaux Daliniens printed by Wolfensberger.
Lot 31
Charles Dickens. The Complete Works of Charles Dickens in thirty volumes. Edited by Richard Garnett. 30 Bde. Mit zahlr. gestoch. Tafeln. London, Chapman & Hall, 1900. Gr.-8°. Marmor. HLdr. d. Zt. mit Kopfgoldschnitt, goldgepr. RTitel u. RVerg. (etwas berieben u. tls. bestoßen, Rücken leicht ausgeblichen, ca. 3 Kapitale mit Einrissen). Seiten tls. unbeschnitten, papierbedingt etwas gebräunt, vereinzelt kl. Randläsuren u. gelegentlich fleckig, insgesamt wohlerhalten. - Nicht eingehend kollationiert, augenscheinlich komplett. With introductions by the Editor, and many Etchings and Engravings by Cruikshank, Landseer, Maclise, Stanfield, F. Stone, Doyle, Tenniel Leech, Barnard, Browne (Phiz), Cattermole, Marcus Stone, Fildes, and Others.
Lot 222
A Ladies gold Ring, with oval polished red stone, hallmarked (worn); a 9ct gold Signet Ring with oval blue stone inset; a 9ct gold Ladies Ring with oval jade stone inset with engraved and claw design, hallmarked; a 15ct gold Ladies Ring with light blue sapphire type stone inset, hallmarked, as a lot, w.a.f. (4)
Lot 622
After John Sturgess (1839-1903) Prints: Punchestown - Conygham Cup 1872 "The Start;" "The Stone Wall;" "The Double;" "The Finish;" set of four coloured Prints engraved by E.G. Hester, published by Thomas Cranfield, Dublin 1874, each approx. 66cms x 98cms (26" x 38") gilt tipped wooden frame (4)
Lot 131
13 Hornby Skaledale. NER Goods Shed. NER Weigh Bridge. Village Hall. Low Relief The Chapel. Coal Drop Ramp 2. Coal Stage. Butterley Waiting Room. Shiplap Lean To. Platform Ramp x2. Curved Pavements. 2x Cotswold Stone Wall Pack No.2 Plus a Loading Stage & Crane. All boxed, minor wear. Contents Mint, as new. £100-150
Lot 132
13 Hornby Skaledale. Hight Street Dental. Maestro Market. Bungalow. Low Relief County Hall. Bungalow unpainted. Garage Outbuilding. Coal Stage. Platform Ramp x2, Loading Stage & Crane. 2x Cotswold Stone Wall Pack No.2 Bridge Ramp Adaptor. Plus Curved Pavements. All boxed, minor wear. Contents Mint as new. £100-150
Lot 182
A quantity of Scenecraft Buildings etc. A Steel Frame Crane, Pagoda Shed & Store, Parachute Water Tower, Low Relief Portal Tunnel, 3x 2 Curved Platforms Radius Two. A Low Relief Modular Mill Entrance. Keyside Walls x2. Keyside Corners x2. Low Relief Kevin's Carpets. Waiting Room & Ladies. Fishing Net Lofts. Station Waiting Room Building. Great Central Lamp Huts, Coolant Trollies x4. Fresh Fish Stall. Corrugated Metal Shed. Plus a Dry Stone Walling & Gate. All boxed, minor wear to a few. Contents as new. £100-150
Lot 123
Boxes & Objects - a Bakelite Smiths mantel clock; heavy cast iron outdoor lantern in the form of a telephone box; 19th century carved oak glove box; Mauchline ware needle case; slide rule; tribal carvings; Art Nouveau glass oil lamp with stylised pressed glass dolphin details to base; shoe lasts, dinner bell, stone from the houses of Parliament trinket dish, Bakelite Chesterman of Sheffield tape measure, another similar, etc qty
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400830 item(s)/page