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Click here to subscribeEleven Stereo Classical L.P's, to include Ginostera Concerto For Piano and Orchestra (RCA SB6784, 1968), Arnold Schoenberg, Pierre Boulez and BBC Symphony Orchestra (CBS 76577), 1978, promo copy, Chausson Symphony I B Flat RCA SB6528), 1962, Holst Lyric Movement For Viola (Lyrita SRCS 34, 1967), Boulez Conducts Berg (CBS 72614, 1967) and six more releases worthy of closer examination.
Don Balke (North Carolina, B. 1933) "Cardinal and Violet" Signed lower left. Original Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood commemorative cover for Balke's Birds and Flowers of the 50 States, cancelled December 3, 1985. A streak of red, sharp against the winter sky, darts across a meadow and comes to rest on top of a snow bank. Whoit whoit whoit; cheer cheer cheer, sings the fiery male Cardinal, and his whistle ricochets over the snow fields. Such dazzling good looks and imperial voice distinguish the Cardinal, or Redbird as it is often called, from any neighboring species. "In richness of plumage, elegance of motion and strength of song, this species surpasses all its kindred in the United States," declared Audubon. Seven states -- Illinois, Indiania, Kentucky, North Carolina, Ohio, Virginia, and West Virginia agree with Audubon. All have chosen this prince as their official state bird. Viola pedata is more commonly known in the Midwest as the Birdsfoot Violet. It is easily distinguishable from other Violet species because its leaves are cleft into segments resembling a bird's foot. The leaves and the flowers occur on separate stems. English literature is full of references to the Violet, where the poets often use it in reference to the gentler qualities of life. Elizabeth Barrett Browning wrote exquisitely of the Violet: "Deep violets, you liken to the kindest eyes that look on you without a thought disloyal." Shakespeare's Violets are the flowers of vanishing youth; perhaps he means us to read in the Violet a message to seize life before it is gone. Image Size: 10.25 x 12.75 in. Overall Size: 19.25 x 21 in. Unframed. (B09799)
A collection of early 19th century to Edwardian autographs, the album composed of approximately 150 ink manuscript signatures of the British social, political, and ecclesiastical establishment, The Arts - visual and literary, and miscellaneous others, including musicians, either clipped signatures in their own right, letters, or early postal covers, including Frederic Leighton, 1st Baron Leighton, PRA (1830-1896), Solomon Joseph Solomon, RA, RBA (1860-1927), 2pp ALS of Sir William Howard Russell, CVO (1820-1907), Sir Arthur Helps KCB DCL (1813-1875), Joseph Hume FRS (1777-1855), Churchill Babington (1821-1889), various early-late Victorian aristocratic statesmen, 1pp ALS on Osborne House writing paper from Sir Francis Knollys, later Viscount Knollys, (1837-1924), as Private Secretary to HRH the Prince of Wales (later Edward VII), the Duchess of Bedford, other aristocrats connected with the royal court, others unconnected - some on their country house's writing paper, Charles Hardinge, 1st Baron Hardinge of Penshurst (1858-1944), 1pp ALS as Viceroy of India (1914), on Viceregal Lodge, Simla, writing paper, earlier peers' free postal covers - including the Dukes of Norfolk and Grafton, Cardinal Manning, members of the Anglican episcopacy and other Church dignitaries, 1pp ALS of Edwardian actress Viola Tree (1884-1938), the novelist E.F. Benson (1867-1940), etc., card leaves, Victorian diced calf (faults), later rebacked, all edges gilt, oblong 4to, [1]
NO RESERVE Chardonne (Jacques) Eva, translated by Viola Gerard Garvin, first English edition, light browning to endpapers, original cloth, dust-jacket, light sunning to spine, spine ends and corners a little chipped, light rubbing to extremities, 1930; and 2 others, all published by Gollancz, 8vo (3)
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued at the request and expense of the buyer.Measurements: 65 x 38 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Acrylic on cardboardSigned and dated in pencil in the lower right corner.Certificate can be issued at the buyer's request and expense.Measurements: 50 x 32,5 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Oil on cardboardSigned and dated in pencil in the lower right corner.There is damage in the margins.A certificate can be issued at the buyer's request and expense.Measurements: 70 x 34 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1961.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued on request and at the buyer's expense.Measurements: 50 x 35 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes in Madrid, in 1971 at the Museo de Arte Contemporáneo in Madrid, in 1972 at the Lonja in Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on cardboard.cSigned and dated in pencil in the lower left corner.Certificate can be issued at the request and expense of the buyer.Measurements: 32,5 x 16 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Composition", 1954.Acrylic on card.Signed and dated in pencil in the lower right corner.Certificate can be issued at the request and expense of the buyer.Measurements: 50 x 14,5 cm.Manuel Viola returned to Spain in 1949 after his exile. Self-taught, he had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
THIRTEEN LLADRO FIGURINES, twelve are matt finish, including Sweethearts no.4598, sculpted by J. Fernandez, issued 1969-1978, height 38cm, Angel's Group, no.4542 and Angel Thinking, no.4539, both sculpted by F. Garcia and issued in 1969, Dressmaker, no.4700, sculpted by V. Martinez, issued 1970, The Grandfather, no.4654, sculpted by S. Furio, issued 1969-1979, Boy with Double Bass, no.4615, sculpted by J. Huerta, issued 1969-1979, etc (13) (Condition report: all the matt figures are dusty/ dirty, the Grandfather is missing a finger, girl with viola bow has glue behind bow and glued repair to one plait, seated lady and gentleman group has a broken basket handle (portion with figure), chipped at the rear of the base)
A Castelli maiolica istoriato plate, c.1735, possibly painted by Liborio Grue, with Orpheus rescuing Euridice from the underworld, his viola on the ground nearby, the yellow-ground border reserved with putti and flowers enriched in gilding and centred by auricular panels with lion’s masks, blue band rim, 17.6cm diameterNote: The cover of large vase attributed to Liborio Grue is decorated with similar figures in a similar hand, see Franco G. Maria Battistella et al., Maioliche di Castelli nella Collezione Acerbo, Pescara, 2001, p. 73, no. OA-204, where it notes that the print source for these figures is a 1590s engraving by Agostino Carracci. Overall this plate is in good condition. The faults are listed in more detail below. The gilding on the flowers is worn – there are only small traces of gilding left. There is some very slight flaking to the glaze on the edge of the rim, and a few minute losses to the glaze on the underside near the rim - these are all very minor.
Italian school of the 18th century. Attributed to FRANCESCO DE MURA (Naples 1696 -1782)."Saint Joseph with Child".Oil on canvas.Measurements: 75 x 63 cm; 93 x 81 cm (frame).Image of devotional character whose protagonists are Saint Joseph and the Child, who are placed in the centre of the composition, on a dark and neutral background. Contrary to what happens in representations of this theme, father and son do not look at each other, but each looks away from the other towards the horizon. The work has no other distracting elements, except for the white flowers which are the iconographic symbol of Joseph. Until the Counter-Reformation, the figure of Saint Joseph was usually kept in the background, as no theological importance was attached to him. After Trent, however, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. In contrast to the tenderness, defencelessness and candour of the infant figure, Saint Joseph is presented as a monumental, typically Baroque figure, an impression that is reinforced by the pyramidal composition of the image. Through this form of representation, the author visually emphasises the decisive role of Jesus' putative father as protector.From its stylistic characteristics, this work can be attributed to Francesco de Mura, an Italian painter of the late Baroque period, mainly active in Naples and Turin. After training in the studio of Domenico Viola, in 1708 he joined the studio of Francesco Solimena, where he remained until 1730, and where the influence of Solimena and his pictorial technique can be seen particularly in Mura's early works, such as Christ Dead on the Cross with Saint John, painted in 1713 for the church of San Girolamo alle Monache, and those executed in the early 1720s. From 1728 onwards, however, with the works executed for the church of Santa Maria Donnaromita, a change in style can be seen, tending towards a much more personal pictorial conception, although his work was always strongly linked to the subject matter of the Arcadian scholars, in vogue in Naples at the time. Between 1741 and 1743 he remained in Turin, where he met the architect Benedetto Alfieri and the painter Corrado Giaquinto. He subsequently returned to Naples, where he maintained contact with painters active in Rome, particularly the Frenchman Pierre Subleyras, and was so highly regarded that he was summoned to Madrid to work for the Spanish court. With his chromatic technique and realistic content, typical of Rococo classicism, he greatly influenced the artistic circles of the Neapolitan "Settecento". The Baroque school, particularly in the wake of Francesco Solimena and Luca Giordano, is evident both in his works of a secular nature, such as the frescoes painted for the royal palaces in Turin and Naples, and in the works painted for the church, such as the Epiphany in the church of the Nunziatella in Naples, the Multiplication of the loaves in the cathedral of Foggia and the canvas of Saint Placido in the church of Poggio Imperiale.
Rundschale "Flora Danica", Royal Copenhagen, 2. Hälfte 20. Jh.Weißporzellan mit polychromer und reich goldstaffierter Dekormalerei "Flora Danica"; reliefierte golddekorierte, teils roséfarbig staffierte Bordüren mit gezacktem Rand; botanische Pflanzenmalerei mit verso zugehöriger lateinischer Bezeichnung in Schwarz "Viola canina Horn."; nach dem Vorbild des erstmals in den 1790er Jahren bis 1802 von der königlich dänischen Porzellanmanufaktur gefertigten Services, das ursprünglich als Geschenk für die 1796 verstorbene Zarin Katharina d. Gr. geplant war; die Pflanzenmalerei orientiert sich an dem gleichnamigen ab 1753 v. Georg Christian Oeder begonnenen Tafelwerk zur Flora des dänischen Gesamtstaates; Durchmesser 20,3 cm; Manufakturmarken in Grün und Blau unter Glasur mit grünen Maler- und Dekorsignets.Gewicht 517 g.
Bill Viola. (1951 New York). Hatsu-Yume First Dream. 2002. C-Print, Textumschlag und VHS-Kassette in Portfolio (42,5 x 34,5 x 5cm). C-Print: 27 x 35,5 cm. Dieser verso signiert und nummeriert sowie mit Stempel des Photographen versehen. - Photo an wenigen Stellen minimal bestoßen bzw. oberflächlich berieben, sonst in gutem Zustand. Einer von 350 Abzügen. C-print, text cover and VHS-cassette in portfolio. C-print signed and numbered and stamped by the photographer. - Photo minimally bumped or superficially rubbed in a few places, otherwise in good condition. - One of 350 copies.
German viola c1900 with 38.5cm (15.25") two-piece maple back and ribs and spruce top, bears label 'Antonius Stradivarius Fecit anno 1705', 66cm overall; in carrying case with Golden Strad composition bowCondition Report:Generally in reasonably good condition.Varnish has been stripped from the top and re-finished.Traces of glue between fingerboard and neck.Outside of case worn.
Sächsische Viola/ Bratsche mit Bogen im Koffer, um 1900, wohl Markneukirchen, Holz, part. ebonisiert, rotbrauner Lack, Gesamtlänge: ca. 65 cm, Korpuslänge.: ca. 39,5 cm, in der Decke u.li. vom F-Loch ausgehend kl.Spannungsriss, Saitenbespannung lose, Steg anbei im Koffer, bespielt, ein Schülerbogen, bez. Otto Dürrschmidt, schwarzen Geigenkasten mit grünem Samt-Inlay. Mit Ersatzsaiten und passender Schulterstütze. Geige und Koffer mit Alters- und Gebrauchsspuren.
Interesting early English transitional small viola with original Baroque set-up, with inked purfling, inscribed on the button M+S, 1817, the one piece back of irregular curl with similar wood to the sides, the head of plainish wood, the table of a medium width grain and the varnish of a light reddish-brown colour on a golden ground, 14 3/4", 37.50cm
Good German viola of the Knilling School workshop circa 1860, indistinctly signed in ink at the base of the peg box above the fingerboard, the two piece back of medium curl with similar wood to the sides and head, the table of a fine width grain and the varnish of a reddish colour on a golden ground, 14 15/16", 37.90cm
Paar Teller "Flora Danica", Royal Copenhagen. Fahne mit Zackenrand, Reliefdekor und Goldstaffage. Spiegel mit bunter, botanischer Aufglasurmalerei, Boden in Schwarzlot bez. "Viola hirta L." bzw. "Erigeron eriocephalus J. Vahl". Perfekter Zustand. Malersignet, grüne und blaue Unterglasurmarke Royal Copenhagen, 20. Jh. 1. Wahl. D. 19,5 cm.
Royal Copenhagen Flora Danica 2 Kaffeegedecke 3597/3573, coffee cups with saucers and dessert plates 1st choice,6-teiliges Porzellan, Dänemark, mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen- & Reliefdekor mit Goldrand, Motive Sedum sexangulare Horn., Gentiana nivalis L., Viola hirta L. & Taraxacum phymatocarpum J. Vahl., Formnr. 3597/3573, 2x Tassen H 7 cm x D 7,5 cm, 2x UT D 13,5 cm, 2x Kuchenteller D 19,5 cm6-piece porcelain, Denmark, green company brand and blue waves 1st choice, décor Flora Danica - floral & relief decoration with gold rim, motifs Sedum sexangulare Horn., Gentiana nivalis L., Viola hirta L. & Taraxacum phymatocarpum J. Vahl., model no. 3597/3573, 2x cups H 7 cm x D 7.5 cm, 2x saucers D 13.5 cm, 2x dessert plates D 19.5 cm
Royal Copenhagen Flora Danica 2 Speiseteller 3549, dinner plates 1st choice, Porzellan, Dänemark, mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen mit Reliefdekor & Goldrand, Motiv Pyrola groenlandica Horn. & Viola silvatica Fr., Formnr. 3549, 2x D 25,5 cmporcelain, Denmark, green company brand and blue waves 1st choice, décor Flora Danica - flowers with relief décor & gold rim, motif Pyrola groenlandica horn. & Viola silvatica Fr., modeln no. 3549, 2x D 25.5 cm
Royal Copenhagen Flora Danica Kaffeegedeck 3597/3573, coffee cup with saucer and dessert plate 1st choice,3-teiliges Porzellan, Dänemark, mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen- & Reliefdekor mit Goldrand, Motiv Viola umbrosa Fr. & Solanum dulcamara L., Formnr. 3597/3573, 1x Tasse H 7 cm x D 7,5 cm, 1x UT D 13,5 cm, 1x Kuchenteller D 19,5 cm3-piece porcelain, Denmark, green company brand and blue waves 1st choice, décor Flora Danica - floral & relief decoration with gold rim, motif Viola umbrosa Fr. & Solanum dulcamara L., model no. 3597/3573, 1x cup H 7 cm x D 7.5 cm, 1x saucer D 13.5 cm, 1x dessert plate D 19.5 cm
Royal Copenhagen Flora Danica 2 Kaffeegedecke 3597/3573, coffee cups with saucers and dessert plates 1st choice,6-teiliges Porzellan, Dänemark, mit grüner Firmenmarke und blauen Wellen 1.Wahl, Dekor Flora Danica - Blumen- & Reliefdekor mit Goldrand, Motive Medicago minima Lam., Campanula uniflora L., Ranunculus lanuginosus L. & Viola epipsila Ledeb., Formnr. 3597/3573, 2x Tassen H 7 cm x D 7,5 cm, 2x UT D 13,5 cm, 2x Kuchenteller D 19,5 cm6-piece porcelain, Denmark, green company brand and blue waves 1st choice, décor Flora Danica - floral & relief decoration with gold rim, motifs Medicago minima Lam., Campanula uniflora L., Ranunculus lanuginosus L. & Viola epipsila Ledeb., model no. 3597/3573, 2x cups H 7 cm x D 7.5 cm, 2x saucers D 13.5 cm, 2x dessert plates D 19.5 cm
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987).Untitled, circa 1970.Oil on panel.Attached certificate issued by Jacobo Viola, son of the artist.Signed in the lower right corner.Measurements: 46 x 38 cm. The piece shows the usual use of black as a background in which the tonalities are reversed, and at the same time they emerge as flashes of light, in an immense inconcrete emptiness. A pictorial space, which becomes a visual poetry, where the tensions generated by the artist, through the contrast of tonalities, such as magenta and armarillo, directly question the spectator. In this apparently simple work, Viola introduces only the primary colours on the black, which he manipulates with great mastery to create a whole range of tonalities that merge between the brushstrokes of the artist, who lets a large amount of matter rest on the support.José Viola Gamón adopted the name by which he is known, Manuel Viola, after the Civil War. A member of the El Paso group, his painting is characterised by an informalist and colourist treatment, in line with the avant-garde movements developed in Spain from the 1950s onwards. He began studying philosophy and literature in Barcelona, but was forced to abandon them because of the war. His first drawings date from these years. After the war he went into exile in France, where he wrote for the surrealist poetry magazine "La main à plume". There he began to exhibit his work in the exhibitions of the so-called Spanish School of Paris. He returned to Spain in 1949, and in 1958 his truly personal style began to emerge, and at the same time he joined the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Clément Massier, Piccolo cachepot in ceramica, 1890 - 1910. Corpo a sezione circolare con imboccatura quadrata e quattro prese laterali a ricciolo, superficie esterna decorata a rametti di vischio su fondo nei toni del verde e del viola con finitura a lustro iridescente, superficie interna decorata a cavillature, reca alla base iscrizione “Clement Massier/ Golfe Juan/A. M”, H cm 8 - diametro max cm 14
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