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Jackanory, The eyes of the Amaryllis, ill.Paul Birkbeck 1939-2019, written by Natalie Babbitt, read by Joanna David, Jenny Reade and her grandmother seated indoors at a round table on which rests the head of the prow of the lost ship, 38 x 55 cms., inscribed verso Part 3 Cap 6, not signed, BBC broadcast 1980. ABOUT PAUL BIRKBECK; an appreciation, written by one of his daughters and published in the Guardian following his death. "My father, Paul Birkbeck, who has died aged 80, was an artist and illustrator whose work is familiar to those of a certain generation brought up on BBC childrens TV programmes such as Crystal Tipps and Alistair, Play School and Jackanory. His distinctive style and keen eye for detail ensured that he became one of the BBCs most-used artists through the 1970s and 80s. Born in Woolwich, south-east London, Paul attended Brighton College and Epsom School ofArt. After completing his national service, he also became the banjo player for the Dedicated Men Jugband, who signed to Pye Records in 1965. The bands single, Boodle Am Shake, did not trouble the charts but Paul soon began designing sleeves for Decca Records. In 1965 working with BBC childrens TV he became a prolific illustrator for its programmes. For Jackanory he illustrated 14 stories, including A Dog So Small (read by Judi Dench) and Peter Pan, (some in this sale), as well as the BBC Sunday afternoon Bible stories series In the Beginning. His work for Jackanory continued for many years. He created the memorable opening titles for The Vikings in 1980, presented by Magnus Magnusson, and the iconic Miss Marple series, starring Joan Hickson. Paul also drew the backgrounds for the ground-breaking TV series Jane, starring Glynis Barber, which mixed cartoon backgrounds with live actors and was based on the 1940s comic strip of the same name. (some in this sale). In 1991, as well as supplying illustrations, he was in front of the camera playing himself each week in the BBCs six-part childrens TV history programme Now Then, an educational show that cleverly brought our ancestors to life. Paul taught illustration at Leicester Polytechnic, Epsom College and the Royal College of Art, but continued to work in TV, including delivering the titles for the Stanley Baxter Show on Channel 4. He branched out into book illustration with Salman Rushdies 1990 childrens fairy tale Haroun and the Sea of Stories, for which his lavish pictures were much lauded, not least by Rushdie. My father spent the latter part of his life on personal commissions. His work appeared at the Keith Chapman Gallery, London, in Royal Academy summer shows and Sunday Times watercolour exhibitions between 2003 and 2008, and in the Mall Galleries Discerning Eye exhibitions. PROVENANCE The artworks in this sale have been consigned by his family. NOTES: The pictures in this sale were prepared in various mediums often used by the artist and often in conjunction with one another, including, pen and ink, crayon, water-colour, gouache, pastel, and oil and acrylic paints on card or on paper. The auctioneers acknowledge the help of his family in cataloguing this collection, and where-ever known each picture has been listed under its broadcast designation. but the vendors do not guarantee that all attributions in this respect are correct. The family do however guarantee that the pictures, both signed and unsigned are the work of Paul Birkbeck. . All sizes are approximate.
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.
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