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English Actor Bryan Pringle Signed 5x3 Approx Black and White Photo. Bryan on the Signature is hard to see due to the colour of the photograph although the Pringle Surname is visible. Bryan Pringle, 19 January 1935 - 15 May 2002, was an English character actor who appeared for several decades in television, film and theatre productions. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

The Young Ones, a 10x8 b/w photo signed by Adrian Edmondson who played Vyvyan, Nigel Planer as Neil and Christopher Ryan as Mike. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

On The Buses, a 10x8 sepia style film photo. Signed by Bob Grant who played Jack Harper and Andria Lawrence as Betty. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Wayne Sleep signed 6x4 black and white photo. Sleep OBE, born 17 July 1948, is a British dancer, director, choreographer, and actor who appeared on the BBC series The Real Marigold on Tour and The Real Full Monty. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

LEON AUGUSTIN LHERMITTE (Belgian, 1844-1925) pastel - female gathering firewood in woodland, signed, 31 x 25cmsProvenance: private collection North Wales, consigned via our Colwyn Bay officeAuctioneer's Note: the artist was apparently a Belgian emigre who settled in WalesComments: no problems, neatly framed and glazed

DAVID GAULD R.S.A. (Scottish, 1865-1936), oil on canvas - Ayrshire calves in a barn, signed, 50 x 75cm (unframed)Provenance: private collection North Wales.Auctioneers note: David Gauld was an important Scottish artist who worked in both oils and stained glass and was regarded as being one of the innovators within the Glasgow Boys group. Some of his works, such as St Agnes and Music are seen as precursors of the Art Nouveau movement. His works were seen as having both a Japanese and Pre-Raphaelite influence upon them. Gauld was born in Glasgow and served an apprenticeship as a lithographer and then attended Glasgow School of Art from 1882 to 1885. He came to public notice in the 1880s when he supplied a series of Japanese-influenced pen and ink drawings for the Glasgow Weekly Citizen. Gauld shared the Castlemains Studio in Kirkcudbright with William Stewart MacGeorge and then in later life shared a studio with Harrington Mann at 31 St Vincent Street in Glasgow from 1891 to 1894. During this time he designed stained glass windows for Guthrie and Wells. Gauld then took new premises at 138 West George Street in Glasgow. He also lived at various locations in Kirkcudbright, Glasgow and North Berwick. In 1889 he returned to the Glasgow School of Art and also studied in Paris for a period that year. Like other artists from Glasgow, Gauld spent time at the artist's colony at Grez-sur-Loing in France. Forty-three examples of David Gauld's work are held in the collections of various UK public galleries including Glasgow Museums, The Hunterian, The Scottish National Gallery, Kelvingrove, Gracefield, Paisley, Kirkcaldy and The Fleming Collection (London). a few small areas of flaking paint and small holes through canvas, paint shrinkage, wrinkling of canvas top corners, unframed, surface dirt and milk (?) splashes, would benefit form professional clean and reframe.

A Mid XIX Century Parian Figure Group 'Finding Moses', the Pharoah's daughter resting one hand on the shoulder of her handmaiden who reaches down to the baby in the basket amongst reeds, oval base, unmarked, 35cm high. Lot 1027 - kneeling figure ,the leg glued back on

Fleming [Ian]: Thunderball, pub by Jonathan Cape, issued by The Book Club, first edition 1961, with dustwrapper; Three Others, 'On Her Majesty's Secret Service', first edition 1963, 'You Only Live Twice', first edition 1964 and 'The Spy Who Loved Me', first edition 1962, all with dustwrappers. (4)

A collection of 1950's childrens posters, a framed Cecil Alden print 'The Model Who Wouldn't Sit', a late 19th Century wool work pheasant in frame plus a replica set of Taddy's Clown cigarette cards

TWENTY 1/43 SCALE GE FABBRI JAMES BOND DIECAST MODEL VEHICLES comprising those from You Only Live Twice (2); On Her Majesty's Secret Service (5); Diamonds are Forever (2); Live and Let Die (5); The Man with the Golden Gun (2); and The Spy Who Loved Me (4), each mint or near mint and in original packaging.

MONOPOLY - sealed Star Wars: The Clone Wars, Star Wars Episode1 and Star Wars: Saga Edition plus a sealed James Bond 007, and 2 sealed Monopoly Empire, a Doctor Who edition, and an opened Rangers Football Club Edition,Approx 8 pieces

DOCTOR WHO - The third Doctor boxed masterpiece collection with 8" limited edition maxi-bust (R2303734)Approx 1 pieces

DOCTOR WHO figures to include three infra-red control Dr Who and the Movie Daleks (IRMD-2) in red, black and silver,Approx 3 pieces

DOCTOR WHO die-cast collectible daleks in black and gold and a collectible TARDIS (some damage to corners of the boxes, contents are as new)Approx 3 pieces

DOCTOR WHO - The TOM BAKER years to include a limited edition (1927/5000) Fourth Doctor Time Capsule and an as new fourth Doctor scarfApprox 2 pieces

DOCTOR WHO The eleven doctors figure set with fully poseable action figures (03418), plus 2 sealed CORGI figures of a limited edition Dalek and Davros set and the TARDIS and K-9, a sealed bubble pack sonic screwdriver stylus for Nintendo DS, and a Nintendo DS 'slipcase pack' (slight damage to box), a limited edition Doctor Who/Lord Snowdon Dalek stamp approx 16x16cm, and a 30th anniversary limited edition boxed set VHS tapes etc

JAMES BOND die-cast cars to include two Aston Martin DB5s from Goldfinger, a Lotus Esprit from The Spy Who Loved Me, a box set of Tomorrow Never Dies DVDs, a limited edition (650/1000) collector's storyboard, a boxed set of 22 007 DVDs (including Quantum of Solace), a BluRay set of discs celebrating 50 years of Bond, 2 Bond fridge magnets and a Country Artists 33cm tall Meerkat James Bond in a white jacket.

JAMES BOND memorabilia to include framed 3 RICHARD KIEL autographs on a first day cover on May 18 2001, a 1978 publicity shot from The Spy Who Loved Me, and also a publicity shot from Moonraker with ROGER MOORE, frame size 81cmx35.5cm, plus a framed JAMES BOND GREATEST HITS showing the cover and LP, frame size 77cmx42.5cm and a boxed 007 Ultimate Casino edition of 22 James Bond DVDs and container (perspex cracked) with unopened playing cards and casino chips (48cmx15cmx21cm)Approx 3 pieces

WHO'S Who - a Perspex enlargement of the LP cover of the Who's album WHO'S NEXT, measures 75x75cmApprox 1 pieces

dating: 1530 provenance: Basel, ...CUM ALIJS OPUSCULIS, QUORUM INDEX PROXIMA REFERTUR PAGELLA '; ... in officina Frobeniana an M.D.XXX. The title page with typographic mark of the Froben printing house and restorations. Work with text in Greek and Latin language on the front. 362 numbered pages, plus the index. The pages are in good condition, with perfectly-legible text, slightly browned and with stains. Several ancient handwritten notes, one also in the front flap and a note with handwritten notes, probably coeval with the other ones. The edge of the pages with remains of gilding. Probably a later (18th century?) binding with leather cover, with small damages, signs of use and age, decorated with gilt impressions. Some beautiful engraved initial letters. Johann Froben (c. 1460 –1527) was a Swiss publisher and printer, also well-known for printing the works of Erasmus of Rotterdam, who lived in his house in Basel. His son Hieronymus Froben (1501–1563) succeeded him in the print shop. height 18,5 cm.

dating: provenance: Europe, Beautiful model manufactured to homage the victory of the Mille Miglia Race (1955) by the legendary driver Stirling Moss together with the navigator Denis Jenkinson driving the Mercedes-Benz 300 SLR number '722'. The model is finely crafted by CMC in a scale of 1:18, almost completely in metal, with seats lined in real fabric, pierced grilles and air intakes, opening bonnet and luggage racks, the engine is perfectly reproduced. The case is missing. The bonnet featuring the hand-made autograph made with a permanent marker.Provenance: heirs of an operator who had worked for many years at the highest levels in the world of car racing, in the journalist field. length 23,5 cm.

Mathias Goeritz (Danzig, now Gdansk, 1915 – Mexico City, 1990) Gouache and ink on paper. Signed with initials and dedicated "À mon ami Jean Mallon, Mathias G" on 31-12-1948. Mallon was a renowned French historian and a specialist in Latin paleography. Painter, sculptor and poet. Goeritz gained a PhD in History of Art in Berlin and spent part of the Second World War living in Morocco and Spain. When the war was over, he settled in Madrid, and in 1948, the year in which this piece is dated, he founded the School of Altamira in Santillana del Mar, influenced by the School of Paris, Bauhaus, Paul Klee and Joan Miró. As we can read in the Archivo Lafuente website: "this was a cultural event which took place in Santillana del Mar, in which two theoretical and artistic meetings took place over a week in the autumns of the years 1949 and 1950, under the generic title "Art week in Santillana del Mar". The idea appeared while the German artist Mathias Goeritz was visiting the Caves of Altamira in the summer of 1948, after which he imagined the possibility of creating a “pictorial school” and a free and experimental artistic workshop.” This idea was seconded by Ángel Ferrant, Ricardo Gullón and Beltrán de Heredia. Surrealists such as components of the Dau al Set group from Barcelona and Eduardo Westerdahl from Tenerife converged in those work weeks on "new art" alongside artists with abstract tendencies, such as those who formed the Zaragoza Grupo Pórtico, unclassifiable artists such as Pancho Cossío or others who were clearly eclectic such as Ángel Ferrant, who shared interests with the young poets of the Proel, group, who were also joined by foreign artists such as the Italian-Swiss architect Alberto Sartoris and his wife, the abstract painter Carla Prina, the English painter Anthony Stubbing, the Swedish sculptor Ted Dyrssen, the Hungarian photographer Nicolás Muller, the Brazilian painter Cícero Dias and the German informalist Willi Baumeister." In 1949 he emigrated to Mexico to work as a teacher at the Guadalajara School of Architecture, where he collaborated with the architects Luis Barragán and Mario Pani. Henry Moore and Rufino Tamayo collaborated with Goeritz in 1952-1953 on his most personal architectural creation, the Museo Experimental El Eco.

Francesc Labarta i Planas "Lata" (Barcelona, 1883 - 1963)"Consulta" (Consultation)Ink and chalk drawing on paper. Signed. 36 x 25 cm.Original for the back cover of the illustrated humorous paper "L'Esquella de la Torratxa" Year XXXIII, 13th October 1911, No. 1711, page 656.In the magazine the drawing is accompanied by the following text: "CONSULTA - Tu, que en el front portes estampats els teus coneixements en la materia, responme: ¿quins són els perills del matrimoni?" (CONSULTATION: “You, who have the knowledge of this subject stamped on your forehead, answer me: What are the perils of matrimony?”)On the back is a label from the Barcelona art gallery "La Pinacoteca", which was founded in 1894 by the collector Gaspar Esmatjes and was located in 34, Paseo de Gracia from 1928 until it finally closed in 2004. While the gallery existed it promoted all types of figurative art and introduced numerous artists, some of whom went on to become internationally renowned.

Eduardo García Benito (Valladolid, 1881 - 1981)"Pareja elegante, nocturno" (Elegant couple by night)Watercolour y gouache on paper. Signed. Circa 1920 - 25.25,8 x 52,3 cm.The painter Eduardo García Benito (1891-1981) was one of the most renowned and polished artists of the Art Deco movement. Born in Valladolid, he trained at its School of Fine Arts and Crafts and, later, at the Academy of San Fernando in Madrid. He was given a grant by the City Council of Valladolid to go to Paris in 1912, a city where he socialised with the great masters of the time (Pablo Gargallo, Julio González, Pablo Picasso, Juan Gris, Raoul Dufy and Amedeo Modigliani). His knowledge of the various avant-garde movements that were being developed at the time (Fauvism, Cubism, Futurism, Expressionism) led him to develop an eclectic style to which he added personal elements. The interwar period, the Roaring Twenties, was the period in which he reached the peak of his career, largely due to his discovery by the famous French couturier Paul Poiret (1879-1944) -whom he painted together with his wife in 1921- who attracted the best stylistic illutrators of the time to his company. Poiret, who had introduced revolutionary changes in women's clothing to suit the needs of the moment, took him under his wing and introduced him to the sophisticated and elegant world of the international fashion publications and magazines of Paris and New York: "Fémina" and the "Gazette du Bon Ton" in Paris and "Vanity Fair" and "Vogue" in New York.When Condè Nast (1873-1942) took over the Gazette du Bon Ton, he hired a number of illustrators, among whom was Benito -which is how our artist liked to sign his work- whom Nast himself came to describe as the most talented of all. Nast also owned Vanity Fair and Vogue, undoubtedly the most influential fashion publications, and required reading for the elite for almost a century, for which Benito made more than 100 covers between 1921-1940, in addition to exquisite illustrations and figurines. For "Vogue" he created striking covers in which he impressively combined geometry with colour contrasts. His style was defined by 1925. From that time his illustrations for these magazines stood out for the perfection of the drawing and their straight lines, the balance of proportions and the harmony of the whole. His characters are austere, stylized, geometric and elegant, with a crystalline structure and sculptural and cubist faces, all characteristics that contributed decisively to the forming and dissemination of Art Deco. In the clothing of the moment there was a trend towards internal freedom and comfort, and that is precisely what we can observe in Benito's drawings and sketches: light images capturing woman in the process of liberation -the old corsets and whale sashes were discarded- which created that languid and stylized image that fitted perfectly with the atmosphere of sophistication and frivolity of the time. The article dedicated to Benito by the writer Francisco de Cossío in the newspaper El Norte de Castilla in its issue of August 30, 1929 on the contribution of Benito to the world of fashion of the twenties is very significant. It reads: "To what extent is fashion a superficial art? García Benito finds the greatest inspiration for his creations in the grace of the elegant woman. Being, in a way, an auxiliary to the great couturiers, he knows how to raise the standard of his art by conquering the covers of the most elegant magazines in the world. The modern mannequin, stylized, shiny gold and silver, which brings us the memory of oriental idols, is his work. Creating for women, not only fabrics and colours, but attitudes, smiles, postures, rhythms … Elegant women come to García Benito's drawings to learn the secret of suggestion in modern elegance… ". From 1923 he lived alternately in Paris and New York, and in 1958 he returned to his hometown, bringing his most original artistic cycle to a close, although he continued to paint and work. The fact that the Congress of the United States, in the session of February 8, 1974, voted a motion of congratulations to Benito for his cultural work in that country is another proof of the level of importance that our artist attained. We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.

Marcel Dubois (active between 1920 and 1930)"Wardrobe design for the Folies Bergère or the Moulin Rouge Paris"Gouache, gold paint and ink on paper. Signed. Circa 1920.30 x 24 cm.Marcel Dubois was, alongside Erté, one of the main artists who worked on the wardrobe and scenography designs at the legendary Folies Bergère and Moulin Rouge in Paris during the 1920s and 1930s.

Marcel Dubois (active between 1920 and 1930)"Dandy"Ink drawing on paper. Signed. Circa 1920. 24 x 18 cm.Marcel Dubois was, alongside Erté, one of the main artists who worked on the wardrobe and scenography designs at the legendary Folies Bergère and Moulin Rouge in Paris during the 1920s and 1930s.

Marcel Dubois (active between 1920 and 1930)"Summer elegance"Ink and gouache on paper. Signed. Circa 1920. 22,8 x 16,2 cm.Marcel Dubois was, alongside Erté, one of the main artists who worked on the wardrobe and scenography designs at the legendary Folies Bergère and Moulin Rouge in Paris during the 1920s and 1930s.

Gilberto Corbi (Casinos, Valencia, 1906 - Suresnes, France, 1968)"Mujer con su bufanda" (Woman with her scarf)Ink and gouache on paper. Signed and dated 1927. 26,5 x 17,5 cm."¿Los Zarco? 25 ptas" is written on the back in pencil.Gilberto Corbi was an illustrator and caricaturist who was persecuted and exiled. He created logos, including the one used by the Socialist Party of Spain from the end of the Spanish Civil War until 1976, both in Spain and in exile. In the refugee camp at Argelès-sur-Mer, as was the case in other camps, a type of protest publication known in French as "presse de sables", arose. Twelve refugees from camp No. 8 published fifteen handmade copies of the magazine "Barraca" in June 1939. Gilberto Corbi was one of them, along with José Atienza Toledo, Carlos Conesa Viñas and Gumersindo Sainz de Morales, among others. At the end of June, 1939 they were authorized to move to Mas de l'Abat, in lands belonging to Valmy Castle, where they edited five more issues of the magazine, creating twenty copies of each.The first publication begins with an article entitled "Nuestra barraca" (Our shack), by José Atienza with illustrations by Corbi and Conesa.Further on, another article stands out, "Nosostros" (Us), with a brief biographical note and caricatures of each one of the authors and artists of the magazine, drawn by Carlos Pestaña. We have reproduced the one dedicated to our painter below: "Corbi, Gilberto. 32 years old. Valencian! What else? Countryman of Sorolla, Benlliure, Blasco Ibáñez. Colourist by obligation, by birth and by region. He has a life sentence of painting!"In this same 45-page magazine, there are two other illustrated articlesby Corbi: "Notas de Carnet" (Notes from a Notebook), by José Amic, "Amichatis" and, lastly, a poem by Atienza about the suffering of the Spanish mother, with the drawing entitled "Dolor", (Pain).The illustrations by a Corbi who was persecuted, exiled for his ideas and deprived of liberty in a refugee camp contrast starkly with our drawing, which we dare to describe as fresh, light, avant-garde, modern, light-hearted, and immersed in the creative freedom that the 1920s brought to the world.Undoubtedly, art, which is so necessary, looks for ways to express itself under any conditions.For further information, please refer to the following website: https://www.memorial-argeles.eu/fr/1939/1939-1ere-periode-fevrier-mars-1939/documents/les-revues-du-camp.html

Acrylic on canvas, measurements: 150 x 150. Born in Badalona (Barcelona), into a humble gypsy family, Juanito Cortés began painting at the age of 6, exhibiting his works in the most prestigious galleries in Madrid, Marbella, Monaco and Italy and now, once again, in Barcelona. This work of art is about the dancer who is SARA BARAS and was painted in collaboration with her, hearts also appear, which represent the greatest of life. The flowers represent life, joy, the sun, all of them wrapping the dancer. And in the background the flamenco dancers. A certificate signed by the artist himself is attached.

VLADIMIR VELICKOVIC (1935-2019)Pad II (Chute n° 2) 1964 signé et daté 1964. VII ; signé, titré et daté 1964. VII au revershuile et détrempe sur toilesigned and dated 1964. VII ; signed, titled and dated 1964. VIIoil and distemper on canvas 204 x 170 cm. 80 5/16 x 170 in.Footnotes:Cette œuvre est accompagnée d'un certificat signé par l'artiste.ProvenanceGalleria Galatea, TurinAcquis auprès de celle-ci par le propriétaire actuel circa 1985ExpositionSaint Marin, Ve Biennale Internationale d'art Contemporain, 1965BibliographieNoël Bernard et Alin Avila, Velickovic, peinture 1954 > 2013, Paris 2013, p. 53, illustré en couleurs (reproduit à l'envers et titré Pal)Peinte en 1964, Pad II (Chute n° 2) est un exemple parfait de l'art de Vladimir Veličković. Ancrées dans l'histoire personnelle de l'artiste concerné par l'expression du corps humain, les terreurs de la guerre agissent comme un thème central tout au long de sa carrière. Né à Belgrade en 1935, l'artiste a été élevé en Yougoslavie sous l'occupation nazie et a été témoin de la souffrance et de la violence humaine dès sa plus tendre enfance, dans un pays davantage ravagé par les conflits ultérieurs remodelant le paysage géopolitique de la région. Une expérience directe de la guerre et un intérêt pour le sujet du corps en mouvement l'ont conduit à explorer la forme humaine et animale, à laquelle il revient sans cesse dans son œuvre. Par l'utilisation audacieuse des couleurs prédominantes que sont le rouge, le blanc et le noir, il exprime une matérialité déchirée par le conflit et des motifs tels que les barrières frontalières rayées, récurrentes dans ses œuvres les plus emblématiques. La Chute, qui désigne un scénario d'effondrement, un titre qui évoque la chute de l'Homme, ainsi que celle du roman éponyme d'Albert Camus, paru en 1956.Architecte de formation, Veličković a consacré sa vie à la peinture, son succès à la Biennale de Paris de 1965 et l'obtention du premier prix l'ayant conduit à un séjour en France qui a duré 60 ans. Aux côtés de Dado et Ljuba, il est l'un des trois peintres de renom d'origine yougoslave qui se sont installés à Paris à cette époque. Son exposition à la Galerie du Dragon en 1967 lance sa carrière dans la capitale française. Plus tard, il a été décoré des titres de Chevalier de la Légion d'Honneur et de Commandeur des Arts et Lettres, ce qui lui a valu une reconnaissance supplémentaire. Etant l'un des artistes les plus célèbres du mouvement de la Figuration Narrative, l'art de Veličković a été reconnu internationalement et ses œuvres font partie de prestigieuses collections institutionnelles telles que le Musée royal des Beaux-Arts de Bruxelles, le Centre Pompidou de Paris et le MOMA de New York.Painted in 1964, Pad II (Chute n° 2) is a prime example of Vladimir Veličković's art. Concerned with the expression of the human body and rooted in the artist's personal history, the terrors of war act as a central theme throughout his career. Born in Belgrade in 1935, the artist was brought up in Nazi-occupied Yugoslavia and from an early childhood, he witnessed human suffering and violence, amidst the backdrop of a country further ravaged by subsequent conflicts which continued to reshape the geopolitical landscape of the region. A first-hand experience of war and an interest in the subject of the body in movement led to his exploration of the human and animal form, which he returns to over and again in his oeuvre. Through his bold use of the predominant colours of red, white, and black, he expresses a physicality torn by conflict and motifs such as the striped frontier barriers recurrent in his most iconic works. La Chute, translated as The Fall, which denotes a tumbling, crumbling scenario, is a title further evocative of the fall of man, as well as that of Albert Camus's seminal 1956 novel of the same title.Veličković a trained architect, dedicated his life to painting, with his success in receiving the top prize at the 1965 Paris Biennial leading to a stay in France that lasted 60 years. Alongside Dado and Ljuba, he is one of the renowned Yugoslavian painters who settled in Paris in this period. His exhibition at the Galerie du Dragon in 1967 launched his career in the French capital. He was later awarded the prestigious Chevalier de la Légion d'Honneur and the Commandeur des Arts et Lettres, earning him further recognition. As one of the Narrative Figuration's movement most celebrated artists, Veličković's art has been recognised internationally and his works are held in prestigious institutional collections such as the Royal Museum of Fine Arts in Brussels, the Centre Pompidou in Paris, and New York's MOMA, amongst others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JOANA VASCONCELOS (Née en 1971)Love in a Box 2015 carreaux peints, laine, perles en acrylique, polyester, contreplaqué, ferpainted tiles, wool, acrylic beads, polyester, plywood, iron226 x 123 x 46 cm. 89 x 48 7/16 x 18 1/8 in. Réalisé en 2015.Footnotes:ProvenanceAcquis auprès de l'artiste par le propriétaire actuelExpositionsToulon, Hôtel Départemental des Arts, Joana Vasconcelos. Exagérer pour inventer, 2018, p. 51, illustré en couleurs Wakefield, Yorkshire Sculpture Park, Beyond, 2020 - 2022, p. 11, illustré en couleursBibliographieDanilo Eccher, LOVE. L'arte contemporanea incontra l'amore., Milan 2016, p. 291, illustré en couleursNée à Paris, en 1971, c'est à Lisbonne que Joana Vasconcelos suit des études d'arts visuels à l'Ar.Co entre 1989 et 1996. Elle remporte de nombreux prix comme le prix jeunes artistes EDP en 2000, le Tabaqueira Fonds pour l'Art Public en 2003 ou encore le prix de la Fondation Berardo en 2006. En 2012, elle est la première artiste femme invitée à exposer dans le château de Versailles, puis, en 2013, représente le Portugal à la Biennale de Venise. Plus récemment en 2018, le musée Guggenheim de Bilbao a accueilli l'exposition Joana Vasconcelos. Je suis ton miroir, présentant une sélection exceptionnelle de 30 œuvres comprenant des œuvres monumentales et inédites.Artiste engagée, Joana Vasconcelos développe une œuvre politique, engageant une réflexion autour de la domesticité, de l'égalité des sexes et de la société de consommation. Détournant les objets du quotidien et en les associant parfois à l'artisanat, le savoir-faire portugais, elle offre des sculptures, des installations et des monuments qui prennent souvent place dans l'espace public. Love in a Box, réalisée à partir de carreaux de céramiques faits à la main par l'usine Viúva Lamego s'inscrit dans la tradition des azulejos qui ornent les murs de Lisbonne et que l'on retrouve notamment dans les cuisines. Les carreaux forment une fenêtre, leur surface est froide et dure. Ils sont néanmoins transpercés par des fils de laine souples à la texture douce et chaude. Ce contraste saisissant entre les matières et la disposition traversante des éléments annonce une implosion : la fin de l'enfermement des femmes dans leurs taches domestiques et l'égalité des sexes.Cette œuvre a été récemment exposée en Angleterre au Yorkshire Sculpture Park de Wakefield lors de l'exposition Beyond entre 2020 et 2022 mais également en France, à l'Hôtel Départemental des Arts de Toulon en 2018 lors de l'exposition personnelle : Joana Vasconcelos. Exagérer pour inventer. On retrouve les œuvres de Joana Vasconcelos dans les collections permanentes de nombreuses institutions muséales mondiales : National Museum of Women in the Arts à Washington, D.C aux Etats-Unis ; Museo de Arte Contemporáneo de Castilla y León en Espagne ; Amorepacific Museum of Art – à Séoul en Corée du Sud ; et le Musée d'Art Moderne et Contemporain de Strasbourg en France.Son activité sera de plus en plus prédominante dans le paysage culturel européen comme en témoigne le calendrier de ses prochaines expositions. Dans le cadre la saison culturelle France-Portugal, Joana Vasconcelos sera à l'honneur dans notamment deux manifestations d'envergure : Arbre de vie à Paris à la Sainte-Chapelle de Vincennes, Jardin d'Eden à la Maison Folie de Wazemmes de Lille ainsi qu' une installation de la série des Valkyries pour la gare de Lille-Flandres. Au Royaume-Uni, le Waddesdon Manor accueillera également une commande spéciale Wedding Cake pour la Rothschild Foundation.L'engouement international des institutions privées et publiques pour les œuvres de Joana Vasconcelos témoigne de l'importance de cette artiste qui ne cesse de se renouveler dans des créations engagées et saisissantes.Born in Paris in 1971, Joana Vasconcelos did her studies in Lisbon in visual arts at Ar.Co between 1989 and 1996. She won numerous prizes, including the EDP Young Artists Prize in 2000, the Tabaqueira Fonds for Public Art in 2003, and the Berardo Foundation Prize in 2006. In 2012, she became the first woman to be invited to exhibit at the Palace of Versailles, before going on to represent Portugal at the 2013 Venice Biennale. In 2018, the Guggenheim Museum Bilbao hosted the exhibition Joana Vasconcelos. I'm your mirror, presenting an exceptional selection of 30 works including monumental and unseen works. A socially engaged artist, Joana Vasconcelos has developed a politically orientated work, dealing with themes such as domesticity, gender equality and the consumer society. Transforming and reappropriating everyday objects, sometimes linking them to Portuguese artisan techniques, her practice includes sculptures, installations and monuments present in public spaces.Love in a Box made from ceramic tiles handmade by the Viúva Lamego factory hails to the tradition of the azulejos that adorn the walls of Lisbon, notably in the kitchens. The tiles form a window, their surface is cold and hard. Yet here, they are pierced by supple woolen threads of a soft and warm texture. This striking contrast between the materials and the cross-over layout of the elements announces an implosion: the end of the imprisonment of women in their domestic tasks in a move towards gender equality. This work was recently exhibited in England at the Yorkshire Sculpture Park in Wakefield during the Beyond exhibition between 2020 and 2022, before being featured in France at the Hôtel Départemental des Arts in Toulon in 2018 for her solo show Joana Vasconcelos. Exagérer pour inventer.The works of Joana Vasconcelos are present in the permanent collections of many museums across the globe, including the National Museum of Women in the Arts in Washington D.C. in the United States, Museo de Arte Contemporáneo de Castilla y León in Spain, the Amorepacific Museum of Art in Seoul, South Korea and the Museum of Modern and Contemporary Art of Strasbourg in France.Her work is taking a predominant place in the European cultural landscape, as evidenced by her upcoming exhibitions. As part of the France-Portugal cultural season, Joana Vasconcelos's work will be featured in two major cultural events: Arbre de vie in Paris at the Sainte-Chapelle de Vincennes, Jardin d'Eden at the Maison Folie de Wazemmes in Lille as well as an installation from the Valkyries series for the Lille-Flandres railway station. In the UK, Waddesdon Manor will present Wedding Cake, a work specially commissioned for the Rothschild Foundation.The high level of enthusiasm from international private and public institutions for the works of Joana Vasconcelos testifies to the importance of this artist, who continues to renew her artistic language through socially engaged and striking creations.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FOUR VOLUMES ILLUSTRATED BY CECIL ALDIN,comprising 'A Dozen Dogs or So' by Patrick Chalmers, 'The Dog Who Wasn't What He Thought He Was' by Walter Emanuel, 'A Gay Dog', and 'Farm Babies' (4)

JUAN PABLO SALINAS Y TERUEL (Madrid, 1871 - Rome, 1946)."Seated Lady".Oil on panel.Signed and located in the upper left corner.Size: 36,5 x 16 cm; 43 x 33 cm (frame).Of delicate character, the Seated Lady that we present here, is undoubtedly a clear exponent of the precious production of Salinas, where the artist poses an intimate atmosphere to recreate the psychological introspection of the person portrayed.Juan Pablo Salinas began his artistic training at the San Fernando Academy of Fine Arts in Madrid, although his time in the classroom was probably short-lived. He began to make a name for himself in 1885, when he took part in the exhibition organised by the Association of Writers and Artists and in the Aragonese Exhibition, being awarded a third-class medal in both. Around 1886 he moved to Rome to further his studies thanks to a grant awarded by the Diputación Provincial de Zaragoza. There he attended the Círculo Internacional de Bellas Artes, as well as the evening classes at the Academia Chigi. He also joined the Spanish artistic colony resident in the city and worked alongside his brother, the painter Agustín Salinas, who had been living in Rome since 1883. Both brothers submitted works to the National Exhibition of Fine Arts in Madrid in 1887; Juan Pablo sent "Mark Antony and Cleopatra", a classical theme. Like his brother, his true master, Salinas also recreated medieval themes with a notable Tuscan influence, with works such as "Romeo and Juliet" and "Scene from the Decameron". His style evolved towards costumbrismo, with special attention to popular Spanish and Italian scenes, such as "Una boda en Aragón" (A Wedding in Aragón), "Regreso de los vendimiadores" (Return of the Grape Harvesters) and other works. His career remained closely linked to that of his brother until, on a trip to Paris, he became acquainted with the work of Ernest Meissonier, whose influence led him to focus on the genre of casacons, with which he achieved great success in France, Italy, Central Europe, Russia and America. Around this time he exhibited in the Salons Roger and began his famous compositions of eighteenth-century atmosphere, in which he depicted figures dressed in the fashion of the time in the setting of luxurious interiors, minutely detailed through a precious technique that is recreated in the colourful description of clothes and lace but, above all, in the masterly treatment of the deliberately sensual female flesh tones. During this period Salinas also produced several series for the decoration of large salons. In addition to these themes, he painted orientalist scenes and church interiors. In the last stage of his career we can see a decrease in detail, a looser and less descriptive character. Juan Pablo Salinas is currently represented in the Prado Museum (his work is on deposit at the Asturias Fine Arts Museum in Oviedo), the Bellver Collection in Seville and other public and private collections.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Day at the beach, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this work Opisso offers us a lively popular scene, brimming with narrative. The family gathered next to the beach hut is getting ready to leave: a mother tries to put the little shoe on her little girl's shoe, another woman is fixing the ribbon tied around the little dog's neck? Each character appears individualised in attitudes, physiognomies and gestures. It is an image rich in detail and characterised by the vivacity of an author who was above all a great draughtsman and cartoonist.In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Huerto de Vilanova".Oil on canvas.Signed in the lower right corner.Size: 38 x 46 cm; 57 x 65 cm (frame).Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893, together with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual), he founded the "Colla del Safrà" (Safrà Group) to explore together the pictorial initiatives of the end of the century. The name came from the saffron and ochre tones they used in their paintings, with which they sought to capture the Mediterranean luminosity and reject the coldness of the greys and blues of the French Impressionists. Nevertheless, they imitated the Impressionists in their taste for painting in the open air, capturing the atmospheres and types they saw. In 1896 they even took part as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works that give us a clear idea of the group's ideals: "The Rector's Vegetable Garden" and "The Orange Seller". From 1897 he also frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde met, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. He took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. In 1901 he exhibited the fruit of this first Mallorcan period at the Sala Parés in Barcelona, where he again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He painted the houses, the churches, the orchards, the people, the flowering almond trees, the farmyards... Unimportant subjects that were more and more in line with the reality of nature, as they only wanted to reflect his love for his land and his constant search for changes in the light. His style was no longer as expressive as in Mallorca, although his bold use of colour and stain remained. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.

French school of the first half of the 19th century."Orientalist scene".Oil on canvas. Relined.Signed "A. Garneray" in the lower right corner.Measurements: 79 x 62 cm; 94 x 78 cm (frame).The painter of this work recreates a river scene with the city of Istanbul in the background. A group of people are resting with their animals beside the calm waters of a stream, on a large pedestal that refers to an ancient stone construction, now lost. The lush greenery that emanates from the waters, with tall palms and dense trees, provides the ideal oasis for the sheep to feed and shelter from the intense sun that bathes the scene. The final mosque, with its dome and two minarets, indicates that we are most probably in a place close to the city of Istanbul.The work belongs to the Orientalist school, which emerged in the 19th century as a consequence of the Romantic spirit of flight in time and space. The first Orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the outset to fail. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated down to the last millimetre but ultimately unknown and idealised. During the second half of the 19th century, however, many of the painters who travelled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new school of Orientalism left behind the beautiful odalisques, harems and slave markets to paint nothing more than what they saw, the real East in all its everyday dimensions. Along with the change of vision came a technical and formal change; since it was no longer a question of recreating an imagined world in all its details, the brushstroke became more impressionistic, and the artists focused less on depicting types and customs than on faithfully reflecting the atmosphere of the place, the very identity of the North African populations.

PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Eva", 1940.Oil on panel.Signed and dated in the lower right corner.Work reproduced in "Pere Pruna. Pintor mediterrani: 1904-1977", pg.130. Published by Sitges Town Council, 2004.Measurements: 199 x 70 cm; 203 x 74 cm (frame).The biblical Eve is transfigured by the work and art of Pere Pruna into a modern woman, a nymph proud of having tasted the forbidden fruit. In this imposing painting, the naked body of the "first woman" is unashamedly displayed, overturning the long tradition of repentant, wealthy Eves covering themselves and their nakedness. But, curiously enough, that tradition is also present in this painting, because the author probably wanted to dialogue with them: Dürer, Cranach.... The slender waist and beautifully turned limbs culminate in a defiant face with raised eyebrows and closed eyelids. The lips are set alight with lipstick, and long hair flows over the smooth bust.A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space named after him, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923).Untitled.Oil pasted on board.Signed in the lower right corner.Size: 23 x 36 cm; 59 x 67 cm (frame).In this work inspired by Sorolla's painting, the artist shows us two small children immersed in the gentle swell of the sea waves. The artist resolves the scene through the use of a broad, fluid brushstroke and shapes the volumetry of the protagonists. Colour and matter predominate over the drawing, which Navarro Llores plays less of a leading role in favour of the atmospheric capture and the tactile values offered by the work. Both children seem to be introduced into the landscape in an organic way, forming an indisputable part of the atmospheric perception of the work, which stands out for its careful study of light.José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies, and he devoted himself to depicting local, North African and Orientalist themes, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarrete's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.

JOSÉ DENIS BELGRANO (Málaga, 1844 - 1917).De paseo" ("On a stroll").Oil on panel.Signed in the lower right corner.Size: 30 x 20 cm; 45 x 36 cm (frame).With the type of scenes like the one we present here, set in an eighteenth-century and aristocratic environment, Denis Belgrano renewed the genre of house painting. A notable exponent of the Malaga school of the second half of the 19th century, much admired and respected in his day and highly valued today, José Denis was born into a bourgeois family and excelled in painting from an early age. His precocious talent attracted the attention of the Marquis of Guadiaro, Carlos Larios, who granted him a pension which enabled him to continue his studies in Rome between 1862 and 1864. Until then he had been self-taught. During his stays in Rome (he made a second trip in 1875) he became acquainted with the work of Mariano Fortuny, whose influence would from then on be very present in his painting. When Bernardo Ferrándiz returned to Malaga, Denis entered the city's School of Fine Arts as his pupil in 1868. On his return from his second trip to Rome, Denis was already a fully established painter. He then received important commissions such as the decoration of the Heredia Palace, the ceiling of the Liceo Artístico in Malaga and a portrait of the Infanta Mercedes of Orleans, the future wife of Alfonso XII. At the same time he held successful exhibitions of his work, both oil paintings and drawings and watercolours, and in 1887 he joined the teaching staff of the San Telmo School of Fine Arts in Malaga, where he was appointed a member in 1910. He also took part in official exhibitions such as the National Exhibition of Fine Arts in Madrid in 1887. Denis was particularly noted for his costumbrista themes, although he also produced bullfighting and gallant subjects and portraits. Works by Denis are housed in the Malaga Museum of Fine Arts, the Diocesan Museum of Sacred Art in Malaga and the Unicaja Collection.

Italian school, late 19th century."Portrait of a lady.Oil on canvas.Original canvas. Perforations and slight faults.Measurements: 56 x 51 cm; 60 x 55 cm (frame).Female portrait, in profile and solved in realistic language, looking for the psychological capture as well as the capture of the social status of the lady, who belongs to the high bourgeoisie. She is wearing a white shirt with a turquoise cabochon studded with diamonds at the high neck.

JOAN ROIG SOLER (Barcelona, 1852-1909)."Fishermen's House on the Catalan Coast".Oil on canvas.Signed in the lower right corner.Measurements: 44 x 64 cm; 67 x 87 cm (frame).Joan Roig captured in repeated occasions, coastal images that were close and known to him, revealing the lyricism of the daily work of the fishermen, or simply, capturing with his penetrating glance the Mediterranean light impregnating every corner of the coast, as in this peaceful landscape of a Catalan village. Here he shows a special sensitivity to light and atmosphere, and a treatment of range and matter with an Impressionist heritage.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.

GUSTAVO BACARISAS (Gibraltar, 1873 - Seville, 1971)."Lady with a Fan in the Albaicín", 1922.Oil on canvas. Relined.Attached certificate of authenticity issued by Doña Elsa Jernas, the artist's widow.Work reproduced in the catalogue; Gustavo Bacarisas (1873-1971), Anthological Exhibition. Seville Palacio Mudejar, 1972.Provenance: Elsa Jernas.Preserves early 20th century frame.Measurements: 100 x 80 cm; 118 x 98 cm (frame).In this work the artist represents a seated girl, holding a fan and looking at the spectator with a broad smile. The young woman is set in a landscape depicting a nocturnal view of Aracena (Huelva). This portrait, which has a costumbrista heritage, is dominated by the presence of blue, which was a characteristic tone in Bacarisas's painting, to such an extent that it became one of his personal hallmarks, thus approaching a more symbolist and Noucentist aesthetic trend. This work reveals all the pictorial aspects that defined the painting of Bacarisas, who was one of the most important painters of the early twentieth century: the aforementioned blue tone, the nocturnal landscape for which he felt a predilection and the figure of women with Flemish features were indisputable hallmarks of his lyrical and joyful painting.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training on a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913). As a Briton, he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.

JOAN ROIG SOLER (Barcelona, 1852-1909).Vista de pueblo" ("Village View").Oil on canvas.Signed in the lower right corner.Size: 70 x 50 cm; 95 x 75 cm (frame).With his characteristic Mediterranean palette, Roig Soler captures the simple beauty of a corner of a village, with the warm lights glimmering on the old walls, skirting arches, stairs and narrow streets.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the Third Medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Zaragoza Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.

JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)"Sailor boy".Oil on canvas.Signed in the lower left area.Measurements: 84,5 x 71 cm.During the 19th century, beginning of the 20th century, the child portrait began to gain more prominence, extending from the nobility to the bourgeoisie. This fact was largely due to a change in education, and in the way in which the relevance of children in the family environment was conceived. For this reason it is not surprising to see a play like this one, in which the boy is the sole protagonist of the scene, unaccompanied by his parents.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He went to Sitges in 1910, at a time when his style had gradually lost its post-impressionist influences and was moving towards Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the forefront of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974 to commemorate the centenary of his birth. As an easel painter he was the most representative of "noucentisme". His landscapes and female nudes were particularly outstanding, as were his portraits, which were far removed from traditional painting. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.

JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937)."Marina".Oil on canvas.Signed on the left side.Measurements: 50 x 70 cm; 81,5 x 102 cm (frame).The influence of his mentor Joaquín Sorolla can be appreciated in this magnificent painting by José Mongrell, but what is striking is a way of resolving the composition in which he himself was a master: with audacity, Mongrell has superimposed different levels of reality, from the fishermen's wives waiting in the foreground for their husbands to the bathers in the background, passing through the high society lady who enjoys a pleasant summer day. The framing is almost photographic, as it cuts out the boat on which the young woman is leaning with her basket, waiting to fill it with fish. On the left, the oxen can be glimpsed, ready to load the boats that are to dock on the coast. Multiple scenes are interwoven in the painting, worked with different levels of chromatic and luminous definition, in a faithful atmospheric rendering of the different planes. Valencian luminism reaches the highest levels here.José Mongrell studied at the San Carlos School of Fine Arts in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He achieved artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.

NO RESERVE Greene (Graham) T.L.s to Gilbert Miller, headed notepaper, Nov. 18, letter to Gilbert Miller, reading in part "I feel it would be well worth considering Patrick Hamilton as a dramatist for Brighton Rock. You remember Rope and Gas Light? He can put real horror into a play ..." horizontal fold to centre, small received ink-stamp with date in pencil, small pinhole to bottom left corner, overall in excellent condition, c.190 x 125mm., 1939.⁂ Gilbert Miller (1884-1969) was an American theatrical producer who served as director of the League of New York Theatres, as well as an officer of the Actors Fund. He also managed the St James's Theatre in London. Patrick Hamilton (1904-1962) was an English playwright and novelist whose most successful plays were 'Rope' and 'Gas Light' which were made into films, the first by Alfred Hitchcock in 1948.

Le Carré (John) Our Kind of Traitor, uncorrected proof copy, number 31 of 100 copies signed by the author, original boards, mylar dust-jacket, slip-case, fine, 8vo, 2010.⁂ A rare late Le Carré item. This copy comes with a typed letter from Mary Mount, Editorial Director at Penguin, to Will Skidelsky, Literary Editor at the Observer, discussing the book and coming publication with an additional autograph note from her at the foot "I think he is the most urgent + modern writer alive - amazing for a man who is about to be 80!".

Le Carré (John) The Spy Who Came in the From the Cold, fiftieth anniversary edition, signed by the author on title, original boards, dust-jacket, some light rubbing to head and foot, else fine, 8vo, 2013.

Le Carré (John) A Legacy of Spies, one of 250 copies signed by the author, original cloth, mint, slip-case, in original cellophane wrapping, 8vo, 2017.⁂ Le Carré's penultimate novel, a form of sequel to The Spy Who Came in from the Cold.

Le Carré (John) Call for the Dead, signed by the author on title, Signed by the Author sticker to upper panel, 2018; A Murder of Quality, cut signature of the author on title, 2019; The Looking Glass War, cut signature of the author on title, 2019; The Spy Who Came in from the Cold, signed by the author on title, Signed by the Author sticker to upper panel, 2019, Penguin Classics hardback editions, original boards, dust-jackets, fine, 8vo (4)

Powell (Anthony) Two Plays, first edition, signed presentation inscription from the author "John & Rosemary [Monagan] from Tony. The Chantry, August, 1987" to endpaper, additionally signed by the author on title, original boards, dust-jacket, light toning, a few short closed tears to head and foot, 8vo, 1971.⁂ John Monagan (1911-2005), Conneticut politician and author who maintained and lengthy correspondence and friendship with Powell.

NO RESERVE Wheatley (Dennis) and J. G. Links. Murder Off Miami, [1936]; Who Killed Robert Prentice, [1937]; The Malinsay Massacre, [1938]; Herewith the Clues!, [1939], first editions, illustrations and tipped-in exhibits of 'evidence, opened seals and clues, original wrappers, some creasing and tears; and 5 others, modern literature, 4to & 8vo (9)

NO RESERVE Williams (Tennessee).- Women: A Collaboration of Artists and Writers, first edition, signed presentation inscription "For Jordan [Massee] and Paul [Bigelow] with love at Xmas, Tenn[essee Williams] and Frank [Merlo] to endpaper, 11 mounted plates, loose as issued, some very light marginal toning, small patches or browning to endpapers, photograph of Williams and Merlo loosely inserted, cloth-backed stiff wrappers, dust-jacket designed by Paul Rand, some light chipping and creasing to head and foot with neat tape repairs to verso, [Crandell B15], 4to, New York, Samuel M. Kootz, [1948].⁂ A lovely association copy of this rare publication.Samuel Kootz held the exhibition "Women" at his gallery in 1947 featuring works by Picasso, Braque and other gallery artists. The present work joined 11 of the works exhibited to original essays by 11 writers including Williams, Jean-Paul Sartre and William Carlos Williams. Inscribed to Paul Bigelow (1905-88), playwright and one of Williams' closest friends, and Jordan Massee, cousin and close friend of Carson McCullers. Williams visited Massee at his family home at Macon, Georgia and there was introduced both to the larger-than-life William Jordan Massee senior, who formed the basis of Cat on a Hot Tin Roof's Big Daddy, and to the clandestine world of young gay men in Georgia who's secretive and at times tortured lives would provide a theme that ran through much of Williams' work. For more on Jordan Massee see lots 57, 59 and 320. Frank Merlo (1922-1963) was Williams' partner of 15 years, representing by far the most stable relationship Williams experienced. Merlo's death in 1963 was a crisis for Williams and marked the start of steady and tragic decline.

NO RESERVE Borden (Mary) The Forbidden Zone, first edition, endpapers lightly browned, original pictorial cloth, gilt, spine ends bumped, dust-jacket, lightly creased to joints, extremities a little chipped and creased but overall a remarkably clean and excellent copy, 8vo, 1929.⁂ Published in the same year as Hemingway's A Farewell to Arms, Good-Bye to All That and All Quiet on the Western Front, was released to critical acclaim. Even among these others publications, contemporary readers were shocked and the graphic quality of the work from a woman who had had first-hand experience of line on the front line. Scarce with excellent jacket.

Crowley (Aleister) The Works, 2 vol. only (of 3) in 1, Autograph Note signed from F. S. Flint bound after p.66, later morocco-backed cloth, covers a little mottled, 8vo, Foyers, Society for the Propagation of Religious Truth, 1905.⁂ A curious association copy that demonstrates the influence of Crowley on the imagist poets. In the note Flint states "With this copy... I introduced Crowley to Edward Storer... who, sceptical at first, soon conceived enthusiasm enough to proclaim Crowley a great poet, to go about proselytising his fame, and to issue his Mad Bird under the protection of an epigraph from Crowley". Flint goes on to state the that Crowley was "first made known by this edition also to... T. E. Hulme... and Ezra Pound".

Fleming (Ian) The Spy Who Loved Me, neat label to front free endpaper, light edge spotting, jacket with light toning to spine, light rubbing to spine tips and corners, a bright and excellent example, 1962; On Her Majesty's Secret Service, light spotting, spine ends and corners a little bumped, some splitting to head of joints, rubbed, jacket spotted, extremities rubbed, 1963, first editions, original boards, dust-jackets, 8vo (2)

Local interest: Late 18th Century wall clock with alarm, 7-inch square Roman dial signed 'Morgan, Thornbury', with central alarum wheel, the knopped four-pillar twin pulley movement striking on a bell, in grained case, 70cm high, sold with pendulum See https://www.thornburyroots.co.uk/services/clockmakers/Bristol Directory of 1775 shows John Morgan was a clock and watchmaker at Broad Ware or Broad Weir. An advertisement in the Gloucestershire Journal of 23rd February 1784 reads:“John Morgan jun. Clock and Watch-maker, engraver etc from Broad Street respectfully begs leave to acquaint the customers of the late Mr Cox and the neighbouring inhabitants in general (Mrs Cox having informed him that she would not continue the business) that he now carries on the above business in all their various branches, opposite the Market Place in Thornbury, where he makes and carefully repairs horizontal, repeating and other watches, Church, Turret, Chime, Quarter and plain clocks of various Constructions. Gold rings etc. He also makes the truest sun-dials either horizontal, erect or in any other position. Electrical machines and apparatus, thermometers, barometers etc. Coats of Arms, Crests and Cyphers engraved on plate, seals etc.Those who please to favour him with their commands may rely on having their work executed in a complete manner, and on the most reasonable term; and as he has given general satisfaction to his employers in Bristol, hopes by a strict attention and punctuality to orders to merit the countenance and support of the Country.N.B. He will engrave and varnish for country clockmakers or serve them with dial-plates as cheap as in Bristol or London.”No weights. One hand missing.

Sir Terry FROST (1915-2003)Untitled, circa 1980sMixed media collage 27.5 x 20cmProvenance - Wills Lane Gallery, St IvesNote from the vendor - "This was bought from Gillie, Wills Lane Gallery. Well, actually from his wife Joan! Those of you who knew Gillie, remember how difficult it was to actually get him to sell - he would always say, ‘Come back this afternoon' - but the gallery remained closed. On this occasion, Joan happened to be there and we left together. She suggested I came to the house later, and she would sell it to me! this I did, and also saw her collection of tea canisters. I asked Gillie why it was unsigned - and he simply said it had come from an informal exhibition, and knowing Terry would value the support, he bought various works, including this collage - he hadn’t thought or worried about a signature at the time." From the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had always wanted to design an opera, and I was able to help him fulfill that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately, Terry was unable to see the production, and although I had it filmed, the editing only finished after his death. The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’, based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations."

John MILLER (1931-2002)HayleOil on canvasSigned and inscribed to versoArtist's Ref No. 2996KF70 x 75cmThis oil comes to us from a local private vendor who was a close friend of the artist. It is in excellent condition and is well presentedWe confirm the ref written in John Miller's hand  2996KF

Sir Terry FROST (1915-2003)Midnight Blue and BlackOil on canvasSigned, inscribed and dated Aug '59 to verso63 x 76cm"Terry talks about this in his Desert Island Discs programme 1998, but he is also quoted in the ‘Painting in the ’80’s’ leaflet for the University of Reading show, of the impact of the snow and winter moonlight in Yorkshire ....Terry also said this was shown in the Waddington Galleries exhibition in 1961" Ron HowellFrom the collection of Ron Howell."I was introduced to Terry by Allan Freer who had commissioned various things from him during his time with Manchester Education Committee - some of the works are illustrated in the Lewis book. After the initial meeting, we became good friends and I visited Terry and Kath three or four times a year in Newlyn. But we also met in Venice, where I worked regularly, and Terry has a show at the Multigrafia Gallery and the year before his death, they came to the Aldeburgh Festival. The etching ‘On the Edge’ was made for that visit. During that visit, Terry said that he had ,always wanted to design an opera, and I was able to help him fulfil that with the commission for Opera East’s production of Britten’s ‘Rape of Lucretia’. Unfortunately Terry was unable to see the production, and although I had it filmed, the editing only finished after his death.The etching ‘Blue Vertical’ came from this commission, and the ‘Spiral for Aldeburgh’ was used at his funeral, with one of his poems printed verso. In 2005, ‘Blue Drowning’ , based on Terry’s lost painting Drowning Blue, was performed by the Scottish Strings at the Aldeburgh Festival. This I commissioned from John Woolrich to celebrate the lives of Terry and Kath, and our friendship and collaborations.This important early oil is in good original condition, but it is not perfect, there is a very slight abrasion of the surface to the left of the left-hand blue paint stroke.Otherwise, it might benefit from the lightest of cleans