HERNANDO VIÑES SOTO, (Paris, 1904 - 1993).Untitled, 1931.Watercolour on paper.Signed and dated in the lower left corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 31 x 24 cm; 44 x 52 cm (frame).Born into an upper-class bourgeois family, Viñes was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a pupil of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). In the early eighties, important retrospective exhibitions were held at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.
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LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
JOHN KNAPP-FISHER (BRITISH 1931-2015) AN UNTITLED LANDSCAPE AT DUSK, signed bottom right, dated 1987 bottom left, watercolour on paper, approximate size 7cm x 33cm, mounted, framed and glazed, Condition Report: the painting is in good condition, frame marked in places (artist resale rights apply)
DAVID WESTON (BRITISH 1935-2011) 'THE MOST PERFECT AUTUMN MORNING', a study of gates and steps leading to a walled garden, signed and dated 1985 bottom right, titled verso, watercolour on paper, approximate size 25cm x 36cm, mounted framed and glazed, Condition Report: the painting is in good condition, small marks to the frame (artist resale rights apply)
Wales Margaret Hall Watercolour Painting on Board. Holyhead. View of Welsh White Cottages on an overcast summer evening, overlooking a sheltered bay with deeper water offshore. Likely North West Coast of Anglesea. Signed in bottom right corner. No damage apparent, board measures 43cm x 26.5cm.Paentiad Dyfrlliw Margaret Hall ar y Bwrdd. Caergybi. Golygfa o Welsh White Cottages ar noson gymylog o haf, yn edrych dros fae cysgodol gyda dŵr dyfnach oddi ar y lan. Arfordir Gogledd Orllewinol Ynys Môn yn ôl pob tebyg. Wedi'i lofnodi yn y gornel dde isaf. Dim difrod i'w weld, mae'r bwrdd yn mesur 43cm x 26.5cm
19th century engraving, "Vessels - See System of Naval Architecture", depicting the side profiles of various sea-faring vessels, 36 x 22.7cm; R. Jones, "North Woolwich", depicting a tug boat and merchant vessels, watercolour, signed, titled and dated "October 1852", 8.2 x 12.7cm; miniature ship sketch, 4.2 x 4.2cm, naive painting of a sailing ship, oil on board, 29.5 x 26.5cm overall, and 3 other naval pictures. (7)
English School, 19th century, naive painting of the SS Hilda, a steamship owned by the London and South Western Railway. She was used on the Southampton - Channel Islands - St Malo service until she sank in 1905 with the loss of at least 125 lives. ink and watercolour, 16.2 x 29.1cm; and another naive watercolour of a sail boat, 13.2 x 18.8cm. (2)Condition Report:Has been folded/quartered crease to top left corner, 4cm tear to bottom left corner, damage near top right corner, 3.5cm tear half way down on right side and damage by flag, other tiny marks
After Joseph Atkinson (Newcastle, 19th Century) "A view of Tan Field Arch in the county of Durham", inscribed "From the original painting of the late Joseph Atkinson of Newcastle upon Tyne, in the possession of Sir Matthew White Ridley Bar by whose permission this plate is engraved", watercolour tinted engraving, engraved by I C Stadler, published London, December 1 1904 by F Jukes, Howland Street, card mounted in Hogarth frame under glass, 76 cm x 64 cm overall
A mid 19th Century Victorian watercolour painting depicting a fleet of Naval warships on stormy seas. Large multi masted ship being most visible with smaller ships in distance, small barrel in water and guls above the ways. Signed by artist and dated 1843. Framed & glazed. Measures approx; 49cm x 62cm. (22.5cm x 34cm)
A group of framed and glazed pictures to include Gerry Baptist RWS, RE (b 1935) - Lily/Arum, two signed artists proof silkscreen prints, 41.5cm x 18cm, A Locke -a Victorian/Edwardian watercolour of two children playing by a pond with thatched cottages and garden behind, signed lower left, 37.5cm x 25cm, an impressionist oil on board of a tree on the banks of a river, unsigned, 59 x 59, a modern oil on board painting of a house and garden by trees and an estuary with boats, artist initials and date '09 to lower right and a continental oil painting
WILLIAM CALLOW RWS (British, 1812-1908) ink & watercolour heightened with body colour - 'The Rialto Bridge, Venice' titled verso, Spinks label verso, signed to mount, 25 x 35cmsComments: slight tinting, whites appear slightly brown, minor fading, inscription on bottom left of painting (indistinct), multiple storm flies inside frame.
Saburosuke Okada ( Japanese 1869-1939)Watercolour on board depicting figures in a mountain landscape,In 1987 Okada became the first Japanese artist to receive government sponsorship to travel overseas and learn western painting techniques.He spent 5 years in Paris studying under Raphael Collin. Laterr becoming Professor at Tokyo Art School, a member of the Imperial Art Academy and was awarded The Order of Cultural Merit and The Order of the Scared Treasure.[50x58cm]
A 20th century South-east Asian watercolour and gilt painting, depicting the head of a deity, with line of black script and red seal mark to right margin, 67.5cm x 44cm, framed, Christie's receipt label to reverse. Provenance: from the estate of Jeannette and Wilfred Cass, Cass House, Goodwood, Chichester.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Spanish school of the last third of the 18th century."Portrait of Guardia de Corps de Carlos IV".Gouache on vellum.Bronze and wood frame, with faults.Measurements: 6,5 cm (vellum diameter); 10 cm (frame diameter).Portrait of an officer of the Guard of Corps of Charles IV, a type of troop of the royal house whose origin goes back to the French "Garde du Corps". It is a delicate miniature painting, a genre that developed in Europe from the 16th century onwards. They were mainly paintings that were embedded in objects such as medallions, table clocks or small boxes. They were executed in a wide variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.
FEDERICO BELTRÁN MASSES (Güira de Melena, Cuba, 1885 - Barcelona, 1949)."L'Ile d'amour, Les fleurs du mal".Oil on cardboard.Signed on the lower right.With Artur Ramón Gallery label on the back.Measurements: 28 x 23 cm; 48 x 43 cm (frame).Taking the title from Baudelaire's famous book of poems, Beltrán Masses represents here the lesbian island (the kingdom of Lesbos) of which the French poet speaks. Innocent and jovial Arcadia of tradition is reinvented. As in the cursed poet, the latency of something fateful can be appreciated, as well as the burden of a rich symbolism associated with Eros, making pleasure and transgression inseparable. Fauvism, Matisse, the Nabis... are some of the references that are stirred in the cocktail of this painter, capable of creating his own style.Beltrán Masses, despite his Cuban origin, studied art in Spain. He began his training at the Escuela de La Llotja in Barcelona, and was a disciple of Joaquín Sorolla. In 1905 he moved to Madrid to study at first hand the works of the masters in the Prado Museum. In 1916 he settled in Paris, where he achieved great commercial success, receiving commissions from illustrious figures in the United States, Belgium, Italy and India. He was a member of the Royal Academies of Madrid, Barcelona, Saragossa, Lisbon, Cordoba and Malaga. He was also a member of the Hispanic Society of New York, the Institut de France, the Paris Academy of Fine Arts, a knight of the Order of Malta and the French Legion of Honour, and general curator of the Bordeaux International Art Exhibition of 1928. He took part in numerous exhibitions and shows, such as the one held at the Sala Parés in Barcelona in 1910, the Hispano-French Fine Arts Exhibition in Paris in 1919 and the Venice Biennale in 1921. In 1924 he was awarded the Cordon de Isabel la Católica, and in 1934 he exhibited his works at the Royal Watercolour Society in London. Among his official commissions is the portrait he painted of King Alfonso XIII. In 2007 a retrospective exhibition of Federico Beltrán Masses was held at the Casa Lis Museum of Art Nouveau and Art Deco. Beltrán Masses devoted himself to both landscape and figure painting, although towards the end of his career he focused fully on portraiture. Works by Beltrán Masses are currently held in the Prado Museum, the Jeu de Paume Museum in Paris, the Casa Lis Museum in Salamanca and the Reina Sofía Museum in Madrid.
PRE-RAPHAELITE SCHOOL (19TH CENTURY)Portrait of Caroline Louisa FosterWatercolour, 38 x 30cmWith label verso "Caroline Louisa Foster, eldest daughter of John Frederic Foster of Sale Priory, Co. Chester, by Caroline dau(ghter) of Sir William Chambers Bagshawl, Born August 6th 1825, married March 12th 1846 at Ashton-on-Mersey Edward Lloyd Died February 8, 1990 at Lillesdam, buried at Hawkhunst Kent."Condition Report: Good overallcolour tone remains strongno issues with the paintingSmall losses of gilt to the frame
French School - Portrait miniature of a Gentleman, half-length, turned to dexter, dressed in the 18th century fashion, watercolour on ivory, 10.2 x 8cm, gilt and composition frame extensively annotated in manuscript to verso Please note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: ZDU7HUBW The ivory panel in good condition, with no cracks. Fresh colours. The frame with some wear and evident over-painting.
Painting of a woman/watercolour, 24cm x 18cm/and a framed print of a lady, 32cm x 23cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Dora Charnley : Study of a Stone-Built House on a Hill, watercolour, signed, 25 cm x 34 cm, together with the companion piece and so framed as a pair, together with two futher watercoloyr drawings by a different hand, an oil painting depicting a rural cottage, a print after Edgar Degas and a further print depicting a semi-nude study of a lady, all parts framed. (7)
AFTER GEORGE FREDERIC WATTS OM RA (1817-1904), A watercolour portrait of Sir Edward Sabine (1788-1883), Irish astronomer, geophysicist, ornithologist, explorer, soldier and the 30th President of the Royal Society.Old paper label to verso dates 'Watts 1874'. Purchased in 1982, with original receipt from 'Geoffrey Rose Ltd'. 76cm x 57cm (incl. frame) Edward Sabine travelled with Commander John Ross in the ill-fated 1818 Arctic expedition to discover the North West passage into the Pacific Ocean. He also returned to the Arctic on the Parry Expedition the following year in 1819. He led the effort to establish a system of magnetic observatories in various parts of British territory all over the globe. Much of his life was devoted to their direction, and to analyzing their observations. Other research focused on the birds of Greenland, ocean temperatures, the Gulf Stream, barometric measurement of heights, arc of the meridian, glacial transport of rocks, the volcanoes of the Hawaiian Islands, and various points of meteorology.It is believed that this is a copy of the original oil painting of Sir Edward Sabine, in the Royal Artillery Mess, Woolwich. This may have been painted by an admiring officer. In this period the ability to sketch a terrain, rapidly and accurately, could prove very important in a military operation, and officers were often given artistic instruction as part of their training, and this would have focussed on drawing and watercolour rather than oil paint.
Christine Kuhlenthal (1895-1976) Seated Lady with Cat pen, ink and watercolour 15 x 10cm (6'' x 4'') Footnote: Kuhlenthal was the wife of John Northcote Nash and gave up painting when she married John as Nash always said - ''One artist in the house is enough.'' Provenance: John Nash; thence by descent of the family 'Artist’s Resale Rights (ARR) may apply to this lot'
Christine Kuhlenthal (1895-1976) Lady with Parasol pencil and watercolour 20 x 14cm (8'' x 5.5'') Footnote: Kuhlenthal was the wife of John Northcote Nash and gave up painting when she married John as Nash always said - ''One artist in the house is enough.'' Provenance: John Nash; thence by descent of the family 'Artist’s Resale Rights (ARR) may apply to this lot'
OIL PAINTING - LAKE SCENE, ABROAD BY B.M. SEYMOUR 1953? FRAMED, HOUSE OR MILL IN LANDSCAPE, FLEMISH? UNSIGNED C19? 42"H X 33" W, PAINTING - SMALL HOUSE & LARGE TREE WITH DOG, VU DU PARC, MAISON ET STUDIO DE J F MILLER, BARLIZON BY LESEUF? J F MILLER, FRAMED, PENCIL & WASH - UNTERSEEN, SCHWEIZ BY BRENDA MEREDITH SEYMOUR, FRAMED RED STAR, PAINTING & WATERCOLOUR ON HARDBOARD - MOUNTAIN SCENERY ABSTRACT BY BRENDA MEREDITH SEYMOUR, 34"VH X 38" W UNFRAMED, OIL PAINTING - GARDEN WITH IRISES & OTHER FLOWERS, UNSIGNED, 41!" H X 36" W FRAMED PAINTING WATERCOLOUR - BARNS & OLD TREES, FARM NEAR THREE MILE CHASE, TEXT ILLEGIBLE 1951 FRAMED
PAINTING WATERCOLOUR - TUDOR HOUSE WITH CRUCK DOOR IN CENTRE. WEAVER'S COTTAGE, DEDHAM BY BRENDA MEREDITH SEYMOUR 1955, 54"H X 65"W FRAMED, PAINTING WATERCOLOUR - MILL HOUSE, REFLECTIONS BY BRENDA MEREDITH SEYMOUR 1958, 44"H X 62.5"W FRAMED, PAINTING WATERCOLOUR - RIVER SCENE WITH WILLOWS BY BRENDA MEREDITH SEYMOUR 1965, 64"H X 55"W FRAMED, PAINTING WATERCOLOUR? - LANDSCAPE WITH FARM GATE & CORNFIELD BY BM SEYMOUR 1956, 54"H X 65"W FRAMED
PAINTING WATERCOLOUR? - CHALET IN MOUNTAINS BY BRENDA MEREDITH SEYMOUR FRAMED, PAINTING WATERCOLOUR - HOUSE WITH TREE BY BRENDA MEREDITH SEYMOUR 1957 FRAMED, PENCIL & WASH - COTTAGE & CHURCH, LUCCOMBE, NORTH SOMERSET BY BRENDA MEREDITH SEYMOUR 1960 FRAMED, PENCIL & WASH - CHURCH & CHALETS. FORSCHACH, SWITZERLAND BY BRENDA MEREDITH SEYMOUR 1957 39"H X 38"W FRAMED, PAINTING WATERCOLOUR - FARMHOUSE WITH BARN & HAYRICKS, BLATCHES FARM, EASTWOOD, ESSEX BY BRENDA MEREDITH SEYMOUR 1962 FRAMED
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11510 item(s)/page