BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Castle", 1958.Oil on canvas.Attached certificate issued by Don Ramón Palencia del Burgo, legal heir of the artist.Signed, dated, and dedicated to Don José María Moro, in the lower right corner.Measurements: 33 x 46 cm; 51 x 64 cm (frame).During this period Palencia isolated himself in the village of Villafranca, dedicating himself completely to painting, without any distractions that could disturb his pictorial exercise. It was then that he turned to the themes of views that reflected the lands of Avila, thus capturing the deepest Spain, but charged with a lively colouring that he recovered after a period of cold and arid tones caused by the consequences of the civil war.Founder of the Vallecas School together with sculptor Alberto Sánchez, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape characteristic of the Generation of '98. At the age of only fifteen Palencia left his native town and settled in Madrid to develop his training through his frequent visits to the Prado Museum, as he always rejected the official teachings of the San Fernando Royal Academy of Fine Arts. In 1925 he took part in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travelled to Paris for the first time. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he later applied to his work, incorporating new materials such as sand and ashes. It was during this Parisian stay that Palencia's work took on a surrealist tone, evidenced by an increasingly greater expressive freedom that reached its peak in his mature period. On his return to Madrid he founded the Vallecas School (1927) and made his individual debut at the Museum of Modern Art (1928). Palencia gradually abandoned still lifes to return to the Castilian landscape, capturing it through a magnificent synthesis of tradition and the avant-garde. This personal aesthetic of landscape painting reached its culmination in the Vallecas School and, after a brilliant surrealist incursion in the early 1930s, when the Civil War broke out Palencia remained in Madrid and, like his fellow artists of his generation, suffered a period of profound crisis. When the war ended, between 1939 and 1940 his painting took a radical turn; he abandoned cubist and abstract influences and even aspects of a surrealist nature in search of an art with a strong chromatic impact, linked to Fauvism. Focusing on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work would include images of the Castilian countryside and its peasants and animals; his painting became a testimony to the rough, the coarse and the rural, to the subtle expressiveness of Castilian sobriety. Already fully consolidated, in 1943 he won the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to take part in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honour at the National Exhibition, although he renounced it in order to facilitate its award to José Gutiérrez Solana.
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ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."La folle au chapeau. Paris, 1948.Oil on canvas.Signed in the lower right corner.Titled on the back.Attached is a photograph of the artist's Parisian studio, in which this painting appears together with Pedro Flores (Paris, January 1948).Measurements: 61 x 50 cm; 75 x 64 cm (frame).Clavé's work developed along two lines, one of which was more conceptual and experimental, while the other remained within the limits of figuration, although it was a completely avant-garde figuration. This portrait belongs to the second line, endowed with an inner strength that subjugates us: through the voluntary roughness of the brushstroke and the boldness of the colours, Clavé conveys the fragile and vulnerable psychology of "the madwoman". Large eyes that seem to have wept, the curled hand on her lip, the grotesque headdress... all contribute to silently moving the viewer.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as papier froissé. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to Clavé that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
OLIVER CLARE (BRITISH, 1853-1927)Still life with strawberries and peachessigned 'OLIVER CLARE' (lower right)oil on board21 x 29cmCondition reportMinor abrasion to upper centre edge, but this is right at the edge of the work, where it meets frame. Also some gilding on the paint surface in the same area, to edge only, where frame meets the painting. Overall appearance is generally good.Nothing appears to fluoresce under UV light.
Circle of Gerrit van Honthorst (Dutch, 1590 - 1656) Portrait of Philip, Prince of Orange, half bust length, in an embroidered doublet, lace collar and wearing the Order of the Golden Fleece Oil on panel, 53.5cm x 47cm. Old label verso, 'This painting belongs to The Baron of Plean'.CONDITION REPORT: Cracks to the oil on both sides from top to bottom, coming through from back boards.Minor age-related surface marks to the oil also.Age-related staining, marks and colour fading to frame. Restored area to the right side of the oil and some indentations to the right side of the oil. There is a area of grain on neck coming through from the back board.
Six original artworks to include: modernist abstract painting, oil on canvas, indistinctly signed and dated verso., 79 x 103 cm; student painting of a dalek 60 x 74 cm; framed relief of a giraffe 50 x 87 cm; Paul Shreder, caricature portrait of a professor, 1961, 37 x 93 cm; mixed media Mona Lisa on paper, 60 x 76 cm; and caricature of a gentleman holding map of London 'Thanks for the Safari in London', signed 'Gabris 1970' 122 x 51 cm (6)
Vincent Bennett (Plymouth 1910-1993), oil on canvas panel, 'Lobster Catchers', 56cm x 71cm, unframed. ARR applies. Signed for Vincent Bennett 1983 by his wife Mary L. Bennett. Provenance: we are proud to offer this painting direct from Jonathan Bennett, Vincent's son, who has consigned some of his father's work to our auction.
Oil Painting on Board of William Eels born around 1740. It is understood from the vendor, who is a relation of William Eels, that the painting was commissioned by the then Duke of Beaufort as a gift to William. He lived in Keepers Cottage on the road to Didmarton. William is buried in Little Badminton church yard. Included with the painting are two silk scarves similar to the one he is wearing in the portrait. 26cm x 21cm, gilt framed
E . Margaret Richards (Royal Institute of Oil Painters) Still Life Oil Painting on Canvas titled Winter Plant and dated 1978, 60cm x 50cm together with Oil Painting on Canvas of a Country House in a Landscape indistinctly signed, 61cm x 76cm and another Oil Painting signed U Slade and dated 1972
William Burns (British 1923-2010): 'Beach Scene - Late Afternoon Scarborough', oil on board signed, titled verso 20cm x 25cm (unframed)Provenance: direct from the artist's family. Born in Sheffield in 1923, William Burns RIBA FSAI FRSA studied at the Sheffield College of Art, before the outbreak of the Second World War during which he helped illustrate the official War Diaries for the North Africa Campaign, and was elected a member of the Armed Forces Art Society. On his return to England, he studied architecture at Sheffield University and later ran his own successful practice, being a member of the Royal Institute of British Architects. However, painting had always been his self-confessed 'first love', and in the 1970s he gave up architecture to become a full-time artist, having his first one-man exhibition in 1979.Condition Report:Good condition
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