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Click here to subscribesigned, dated, titled and inscribed (to reverse), oil on canvas122cm x 152.5cm (48in x 60in)Provenance:Estate of the artist, from whom purchased by the present owner. 'I don’t practice painting or drawing as an art, in the sense of artifice, of making an imitation of something. It’s something I do from an inner compulsion, that has to come out.' (Alan Davie)
oil on board90cm x 122cm (35.5in x 48in)Footnote: Born in Gera, Germany in 1925, Karl Weschke’s childhood was one of hardship. He found his first sense of belonging with the Hitler Youth and soon after joined the Luftwaffe at the age of 17, which ultimately led to him being taken to the UK as a prisoner of war in 1945. Four years later, Weschke enrolled at Saint Martin’s School of Art in London, and despite only lasting one term, he solidified his connection to the country and put him on course for his future with the St Ives School.While living in London, Weschke met artist Bryan Wynter who encouraged a move to Cornwall in 1955, where Weschke remained for fifty years. From this date, he truly became a painter. Inspired by the natural beauty of the local landscape, he blended this with a hostile painterly application reminiscent of his complex upbringing. This duality became a frequent theme of his work in the 1960s and 1970s, such as in his 1974 painting The Wave, which is both tranquil and quiet, yet dark and brutal with existentialist sensibilities. His work demonstrates the complexity of artists working in St Ives during this period, and how they turned to the landscape in an attempt to understand the changing world around them.
signed (lower left), initialled and inscribed 'Asolo' (to reverse), oil on paper laid on board61.5cm x 49cm (24.25in x 19.25in)Footnote: As a leading figure in the Bloomsbury Group, Duncan Grant played a key role in the development of modern British art. Following studies in London and Paris, Grant kept abreast of the latest developments in French painting before World War One, including visiting Pablo Picasso's studio. His work was included in Roger Fry's landmark Second Post-Impressionist Exhibition held at the Grafton Galleries, London in 1912. In 1916 Grant moved with the artist Vanessa Bell to Charleston, a house near Lewes. From this East Sussex base, Grant maintained a long and prolific career, involving multiple painting trips to the Continent. View between Pillars, Asolo, Italy is believed to have resulted from one such trip. The titular pillars frame an idyllic view over terracotta-tiled villas to distant hills, realised with a varied and rhythmic technique, with a lilac undertone to its warm palette. Charleston is now open to the public and is hosting a major exhibition of Grant's work until 13 March 2022.
oil, crayon and pencil27.5cm x 42.5cm (10.75in x 16.75in)Footnote: Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist.His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure.Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’
HENRIETTA CORBETT (born 1962); a raku stylised horse partially covered in copper red and blue glaze, height 27cm, and 'Red Horse Gold Square', a small oil and gold leaf on paper painting, signed and dated 2003 and inscribed verso, 5.5 x 6cm, framed and glazed (2). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
oil on canvas76cm x 63cm (29.75in x 24.75in)Footnote: Note:Extract from Barns-Graham's notebook c.1940-1947WBG/1/4/1/2pg 89-90OCT. 30th [1940] Wrote to Mr [Hubert] Wellington today. I have begun two portraits since writing in this. Margarita Medina. + Mrs Rogers. BOTH 25 x 30.[…]MRS ROGERS of “The Sloop”. I am painting in the Sloop [Inn]. This is a job. The light is poor + time limited. 2.45-4 pm. I hope to keep this a decorative composition. In a different colour scheme to my recent paintings -using … Yellow, Alizarine [sp], Crimson, Viridian GreenShe is a handsome clear-cut woman with most distinctive hair dressing + a charming attractive personality. Tall + angular. With a sensous [sp] mouth yet almost hard face. Something of the Duchess of Windsor style. So she has often been told + I can see it.Mrs Rogers gives me tea after upstairs in a tiny well furnished room overlooking the harbour. A wonderful orange russet thick carpet + when the light is on it – oh!
pencil and oil on board7.5cm x 30.1cm (3in x 11.9in)Provenance:In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin.This Wallis was given to Wilhelmina Barns-Graham by Sven Berlin for research she did on the Wallis family, presumably for his book on Wallis. Exhibited: 1950: Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 56;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 26;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968, Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 16;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 6. Footnote: Published References: Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat no. 56The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat no 16. The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
signed and inscribed 'Grey, Black, White' (to reverse), oil on board, with painting of a nude to reverse of canvas60cm x 22cm (23.6in x 8.5in)Exhibited: Royal West of England Academy, Bristol, St Ives: Movements in Art and Life, 14 March to 19 September 2020.Footnote: Literature: Published with title 'Walk Along the Quay, 1948 (first edition)' Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, p. 30;Published with title 'Walk Along the Quay (black, white and grey), 1948) Lewis, David ed. (2000), The Incomplete Circle: Eric Atkinson, art and education, Scolar Press, London, p.44. Terry Frost arrived in Cornwall in 1946, staying in a caravan at Cabris Bay and then a house on Quay Street, St. Ives, before returning to London and the Camberwell School of Arts and Crafts in 1947. He re-visited Cornwall over the next few summers before settling in St Ives in 1950. Barbara Hepworth gave him a job as her assistant at this point, alongside fellow artists Denis Mitchell and John Wells, offering him a steady income and structured working week. It was around this period that Frost began his series of paintings of the quayside. David Lewis, art historian and Barns-Graham’s husband, commented:These “paintings were definitely beginnings for Frost. Boat shapes, masts, riggings, water, sky, rippling, all became free compositional elements of mass, lie, colour, texture and movement rocking to and fro ... because the boats are never still, never static, and so you’ve got this terrific sort of up and down motion, this leaning over that.” When Ben Nicholson first saw works from this series, he exclaimed ‘you’ve got on to something that can last you for the rest of your life’ and it remains true that these shapes were to recur in Frost’s work throughout his career, even as his choice of colour grew bolder and compositions more abstract.Grey, Black and White feels completely abstract at first glance but with further consideration, the overlapping elements emerge to reveal a quayside scene. Frost remains preoccupied with form and texture, restricting his colour palette to focus on depth and volume. The resulting composition is quintessentially mid-century and St. Ives, as well as a microcosm of Frost’s wider artistic considerations of the period.
oil, pencil and chalk on cardboard18.5cm x 26.5cm (7.25in x 10.5in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (The Arts Council of Great Britain 1968) it states this painting is ex-collection Ben Nicholson. Exhibited: 1950: Possibly shown with title 'Houses', Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 32;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 24;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968: Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 2, plate XII;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 5;1985: London, Tate, St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate 13 Feb to 14 Apr 1985, cat. no. 25;1999-2000: Dublin, Irish Museum of Modern Art, Two Painters: Works by Alfred Wallis and James Dixon, Irish Museum of Modern Art, 1 Sep to 21 Nov 1999, Tate St Ives, May to Nov 2000, cat. no. 3.2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020. Footnote: Literature:Possibly published with title 'Houses,' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat.no. 32;The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat. no. 2, plate XII;Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, cat. no. 25;Irish Museum of Modern Art (2000), Two Painters: Works by Alfred Wallis and James Dixon, Merrell Holberton Publishers Ltd, London, cat. no. 3. The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
signed in pencil (upper left), oil and chalk on card26.5cm x 35.5cm (10.5in x 14in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (Arts Council of Great Britain, 1968) it states this painting is ex collection ‘Mrs George Buchanan’. Literature:Published with title 'Portsmouth and the Victory' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat. no. 17.The Arts Council of Great Britain, Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, 1968 cat. no. 39. Footnote: The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
Pierre Tal-Coat (1905-1985)Sans titre 1965 monogramméhuile sur toile signed with the artist's initialsoil on canvas 92 x 73 cm.36 1/4 x 28 3/4 in.Exécuté en 1965.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Demolon, et sera incluse dans le catalogue raisonné actuellement en préparation.ProvenanceGalerie Maeght, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel LittératureXavier Demolon, Tal Coat. Catalogue raisonné des peintures, répertorié en ligne sous le n° XD-1965-036Pierre Tal-Coat a été l'une des figures les plus importantes de l'art d'après-guerre. Travaillant entre Paris et Aix-en-Provence à partir de 1945, il est considéré comme l'un des membres fondateurs du Tachisme, aux côtés de Jean-Paul Riopelle, Pierre Soulages et Nicolas de Staël. Tal-Coat a exercé une influence immense sur la génération de peintres et de mouvements qui ont repris le flambeau de la peinture abstraite européenne dans les décennies qui ont suivi, y compris le groupe CoBrA et l'Art Informel. Il demeure un artiste capital dans l'histoire de la peinture du vingtième siècle. Nous présentons ici quatre peintures de qualité exceptionnelle de Tal-Coat qui attestent de sa maîtrise consommée de la peinture et de l'abstraction lyrique. Ces œuvres, réalisées dans des couleurs saturées qui dégagent une atmosphère poétique intense, datent d'une période de sa carrière où sa puissance créatrice était à son apogée, après avoir reçu le Grand Prix National des Arts en 1968, et avant la rétrospective complète qui lui a été consacrée au Grand Palais, Paris, en 1976. La maîtrise picturale et la subtilité de la couleur qui caractérisent Cercle dans le jaune (1968), Dans l'ocre (1970), Traces (1968) et Untitled (1965), en font incontestablement des œuvres hors pair, dont la mise en vente donne aujourd'hui l'occasion d'acquérir des pièces de qualité muséale, signées par un artiste fondateur de la période tardive du Modernisme. Pierre Tal-Coat was one of the most important figures of the Post-War period. Working between Paris and Aix-en-Provence from 1945, he is considered one of the founding members of Tachisme alongside Jean-Paul Riopelle, Pierre Soulages, and Nicolas de Staël. Hugely influential for a generation of painters and movements that took up the mantle of European abstract painting in the decades that followed, including the CoBrA group and Art Informel, Tal-Coat remains an elemental artist in the history of twentieth century painting. Presented here are four refined and exceptional paintings by Tal-Coat that demonstrate his consummate mastery of paint and lyrical abstraction. From a period of his career when he was at the height of his powers, after being awarded the Grand-Prix National des Arts in 1968, before an extensive retrospective at the Grand Palais, Paris, in 1976, the present works are muted and poetic in their execution. The artist's emphasis on paint and the subtlety of tone in Cercle dans le jaune (1968), Dans l'ocre (1970), Traces (1968), and Untitled (1965), is unquestionably unique amongst his peers, and represents an opportunity to collect institutional-grade works by a seminal artist of the late Modernist period. For further information on this lot please visit Bonhams.com
Dado Dado (Miodrag Đurić) (1933-2010)Sans titre 1960 signé et daté 60huile sur toilesigned and dated 60oil on canvas81 x 100 cm.31 7/8 x 39 3/8 in.Footnotes:Madame Amarante Szidon, fille de l'artiste, nous a aimablement confirmé l'authenticité de cette œuvre. ProvenanceGalerie Daniel Cordier, ParisCollection particulière, FrancePuis par descendance au propriétaire actuelLe sujet de cette oeuvre peut être rapproché à celui de deux oeuvres sur papier, 'Le monument aux morts' et 'Sans titre' datant de la même année qui font partie de la collection permanente du Centre Pompidou, Paris et qui sont actuellement en dépôt à Les Abattoirs, Musée - FRAC Occitanie Toulouse.The subject of this painting is related to two drawings 'Le monument aux morts' and 'Sans titre' dating from the same year which are in the permanent collection of the Centre Pompidou in Paris and currently in deposit at Les Abattoirs, Musée - FRAC Occitanie Toulouse.For further information on this lot please visit Bonhams.com
Oil on paper, figures in a burning city, Warsaw, signed indistinctly and dated 1944 on a paper label verso, 27cm x 27.5cm, together with Leila Damak (Tunisian) Surrealist painting of a face and palm trees, acrylic on paper, signed Lei, Paris September 96, with a letter probably from the artist verso, 17cm x 14.5cm
§ § Katharine ""Kitty"" Duff Church (British 1910-1999) From my Kitchen Window, 1957signed 'Katharine Church' (lower right)oil on canvas44.5 x 60cmExhibited: Yorkshire, Walker Galleries Ltd., Harrogate, Katharine Church: A Retrospective of her Paintings from 1936-1995, 1995, cat. no.8Condition report: Purchased from Walker Galleries Ltd., Harrogate, after 1995 exhibiton of Church's work. Not dated, possibly from the late 1950s. Painting is in an overall good condition. There are some areas of minor discolouration to the paint, the area to the right hand side of the wine bottle shows a small area of fine cracking to the paint layer, there also appears to be a small area of infill, possibly to disguise an abrasion, above the wine bottle. There are some very tiny pinprick sized craters in the white passage of paint beside the shoulder of the wine bottle. There is also a hairline crack and tiny speck of white paint on the left handside of the image.
Roger Fry (British 1866-1934) Le Baou des Noir, Vence signed and dated ‘Roger Fry / 1920’ (lower left) oil on canvas 63.5 x 80cmFootnote: Set in the rugged hills of the Alpes Maritimes department and incised throughout with a labyrinth of medieval cobbled streets, Vence, formerly the Roman settlement of Vintium, attracted a flock of artists and writers including, D.H. Lawrence, Marc Chagall, Henri Matisse, Christopher Wood, and Gwen Raverat. The present lot was executed on one of several trips Fry made to Vence. On this particular trip, taken in the spring of 1920, Fry was accompanied by the French artist, Jean Marchand. In his 1920 publication of the influential work, Vision and Design, which comprised a collection of twenty-five essays he had written between 1900 and 1920, Fry dedicated a chapter to Marchand, whom he credited for discarding the 'scaffolding of cubism'.Condition report: The painting is lined using glue paste, the tension in the canvas is good. There is some minor cracking to the paint layer and some losses in the paint layer along the top, this is likely to have happened when the painting was cut from the stretcher to line. There are several small lumps/holes in the paint layer. These could be holes in the original canvas (?) The lumps appear to be a build up of glue. The picture is varnished using a natural resin which has now yellowed. There is a small area of overpaint in the sky which has recently been retouched. The painting has been recently cleaned and restored to a high standard.
§ Colin Ruffell (British 1939-) Kitchen still lifesigned 'Ruffell' (lower right)oil on board44 x 55cmCondition report: Oil on board. The paint layers have been thickly applied with a palette knife and wide brush. Overall the paint layers are in a good, stable condition. The painting is varnished; where the varnish has pooled in the texture of the brushwork it has become darker and yellowed. The varnish is flaking off in areas in the lower half of the painting, revealing the bright white of the paint below. There is some mould and spotting which has developed on the surface. The wooden frame has been painted off-white and has a grubby appearance.
§ Laurence Stephen Lowry RA (British 1887-1976) Woman with a Beardsigned 'L.S. Lowry' (lower right)lithograph61 x 50cmFootnote: Horizons peppered with vertiginous factory chimneys coughing out sooty clouds of industry and stylised matchstick figures scurrying across canvases have become synonymous with Lowry's name, the present lot, an arresting portrait of a bearded woman, therefore sits peculiarly within the body of his work. Lowry encountered his sitter in 1957, on a train travelling from Cardiff to London. In an account of his journey, Lowry claimed that he was so taken by the woman, whom he described as "having quite a nice face and a very long beard", that he was immediately compelled to sketch her. It would appear that Lowry was not particularly discreet in his sketching as, after a short while, the woman asked him what he was doing. Sheepishly, and blushing like a "Dublin Bay prawn", Lowry showed her his sketch. He recalls that at first, she was troubled by the drawing, but by the time they had reached Paddington station the pair had become firm friends. Later that same year, Lowry would use his hastily scribbled sketch to create an oil painting of his friend from the train. Reflecting upon his interaction with his sitter, Lowry noted that she was a "an able and intelligent woman, completely alone and isolated behind her deformity". A reclusive figure himself, Lowry’s portrait is one of quiet beauty and kindness and demonstrates his compassion for the sitter.
§ § Mary Potter OBE (British 1900-1981) Essex Meadowssigned and inscribed to reverse stretcheroil on canvas 35 x 45.5cmCondition report: Canvas is in plane, but the tension is perhaps a little loose. Areas of visible canvas, where paint is thinly applied or not applied at all, appears quite dirty. There are some small, accretions throughout, particularly to the top area of the sky and some areas discolouration to the paint. On the right hand side of the image and in the left hand side area of sky there is some cracking and the beginnings of flaking to the paint layer, there is also a tiny area of flaking to the vine in the centre of the painting.
John Reid Murray (Scottish 1861-1906) Drover with cattle on a country pathsigned 'J Reid Murray' (lower right)oil on canvas59 x 83cmCondition report: Canvas has been relined, tension is good. There is cracking to the paint layer throughout the painting and some yellowing to lighter passages of paint. The top right hand side of the frame is damaged. Paint layer appears stable overall.
§ § Claude Muncaster RWS, RBA, SMA, ROI (British 1903-1974) On the edge of the Blue Mountains, Jamaicasigned 'CLAUDE MUNCASTER' (lower right); artist's label to the reverseoil on canvas100 x 116cm Exhibited: London, The Federation of British Artists, Miami Exhibition (3)Footnote: An enthusiastic sailor, Lieutenant Commander in the Royal Naval Volunteer Reserve and one of the principal maritime painters of the 20th century, Claude Muncaster was born Grahame Hall, in West Chiltington, Sussex, in 1903. The son of noted Landscape painter, Oliver Hall RA, Muncaster was tutored in painting from a young age, and, whilst the pair shared an aspiration “to carry on the best traditions of English painting”, in 1922 Muncaster changed his name to avoid any suggestion that his nascent career was indebted in any way to his father’s reputation. First exhibiting at the Royal Academy in 1921, Muncaster held his first solo exhibition in 1926 at the Fine Art Society, became a member of the Royal Watercolour Society in 1936 and was appointed President of the Society of Marine Artists in 1939. Drawn impulsively towards the sea and aiming to ‘paint ships and the sea with greater authority’, Muncaster spent the 1920s and 1930s sailing around the world as a deckhand. In his sketchbooks and notepads, Muncaster documented all aspects of nautical life, from the ferocious storms and rugged shipmates to the lucent sunsets and balmy, tropical evenings. During the Second World War, he served in the Royal Naval Volunteer Reserve, working as a navigator between 1940 and 1944, before being appointed as a naval camoufleur.Condition report: The canvas is in plane, but the tension is a little slack. There is some embedded dirt evident in the sky and clouds on the top left hand edge (see images) and a small hole in the canvas along the right hand edge. There are some minor surface accretions, very fine cracking to the paint layer in isolated areas, some yellowing to white passages of paint and some overall surface dirt. Otherwise in good order.
§ § Claude Muncaster, RWS, RBA, SMA, ROI (British 1903-1974) A South Pacific Blowsigned 'CLAUDE MUNCASTER' (lower right)oil on canvas74.5 x 49.5cm;together with Martin Muncaster, The Wind in the Oak, Robin Garton, London, 1978, No.17/100 copies, signed by author to half title, and matching looseleaf folio of 12 etchings, the 2 volumes contained within a slipcase; Martin Muncaster,The Wind in the Oak, Robin Garton, London, 1978; Claude Muncaster, Rolling Round the Horn, Rich & Cowan, London, 1935 (4)Footnote: Literature:Martin Muncaster, The Wind in the Oak, London, Robin Garton, cover illustration Exhibited: Liverpool Guildhall, Society of the Marine Artists, 1947 Described by Muncaster’s son, Martin, as “one of [Muncaster’s] finest marine paintings”, the present lot was presumed lost for several decades, after having been exhibited in 1947. Used as the cover illustration for Martin Muncaster’s 1978 biography of his father, in 1979, possibly a result of the publicity surrounding the book, the painting re-emerged. Thought to have been painted in 1931 on a voyage aboard the Olive Bank from Melbourne to England, chronicled by Muncaster in his 1933 publication Rolling Round the Horn, the present lot, with its deftly observed matrix of rigging and dynamic canted angle, is demonstrative of both Muncaster’s lived experience and his comprehensive maritime knowledge. Condition report: The paint layer is stable overall. There are areas of slightly raised paint near the left centre by the figures climbing the ropes. Canvas tension is a little slack. There is damage to the slip of the frame upper right - please see images.
§ § Alan Green (British 1932-2003) Green Descending to Brownsigned, titled and dated 94 to the reverseoil on canvas (unframed)70 x 70cmProvenance: With Annely Juda Fine Art, LondonFootnote: In the mid-1960s, no doubt inspired by American abstract painters such as Mark Rothko and Barnett Newman and reacting against the increasingly pervasive influence of the St. Ives School, Alan Green unveiled his first field-paintings. Green would continue to mature and refine his style of abstraction over the next four decades. Born in London in 1932, Green studied at Beckenham School of Art and The Royal College of Art where he trained as an illustrator, printmaker and graphic artist. It is thought that this path of study, free from the spectre of art history and the shackles of traditional painting techniques, helped steer Green towards abstraction. During this period, Green also spent two years on National Service, posted in Japan and Korea, where he developed an appreciation for the aesthetics of Japanese Minimalism and met the distinguished Japanese potter, Shoji Hamada, who would prove to be a hugely influential figure in his life and work. A peer of Bernard Leach, Hamada not only tutored Green in studio pottery techniques, but also instilled in him the importance of grinding his own pigments and fashioning his own tools. Both colour and tool use would remain critical in Green's practice throughout his career. Displaying a restrained, modulated palette and a meticulously scraped and combed surface, the present lot is reflective of Green's larger body of work and the experiences that helped to shape it.Condition report: The white painted areas of the canvas show a very light layer of dirty, the surface is rough and textured as per the artist's technique. Overall in very good condition.
Edward Alexander DOCKER (1858 - 1932)Feeding The BirdsOil on canvasSigned91 x 71cm'Born in Birmingham (25 October 1858), Docker studied art in Hertfordshire and France. He is mentioned as present in Newlyn in a Stanhope FORBES letter of 1886. The 1891 Census finds him resident in Newlyn, lodging at St Peters, Newlyn with the family of the widowed Mary Richards, and he had exhibited with the colony at Dowdeswells the previous year with the French title En Famille. His work Bucca's Pass, Newlyn (1891) is a painting of the street passage at Street an Nowan, Paul, near his lodgings.By 1894 he had departed Newlyn and was living in Leamington; in 1902 he was exhibiting from an address in Pas de Calais. In 1910 he was living in Letchworth, and after this his name drops from The Year's Art lists of practising artists. He died in Bournemouth on 22 January 1932, age 74' - Cornwall Artists Index Condition report: This oil is in gallery-ready condition. It has not been lined and there is no sign of repair or overpainting. It is clean and tastefully reframed.It comes from a fine private collection of Cornish and other works
Claude Francis BARRY (1883-1970)View of St Ives from Skidden Hill (Circa 1912)Oil on canvasSigned180 x 230cmIMPORTANT NOTICE - This painting is to be sold where it hangs, at the Treloyhan Manor Hotel, St Ives, if you would like to view the painting please contact the hotel to arrange an appointment, tel 01736 796240. It is the purchaser's responsibility to arrange for this large and important piece to be removed. Viewing is advised - if it is not possible to arrange a viewing then please see our additional images showing the location of the picture.Condition report: This huge and magnificent painting is in desperate need of a clean. Because of where it is hanging and the limited lighting it is hard to make a proper assessment, but we saw no sign of flaking and no tears. we did see that the canvas was bulging particularly to the lower right quadrant.
Terrick WILLIAMS. 'Landscape Painting in Oil Colour'. Winsor & Newton LimitedTogether withWinston S CHURCHILL. 'Painting as a Pastime' Odhams Press Limited & Ernest Benn Limited, 1948.Together withS.J. Cartlidge. 'How to use watercolours' Winsor & Newton Limited.Together withOswald Garside. 'Landscape painting in water colour'. Winsor & Newton Limited.
Grant REYNARD (1887-1968) (American)Fishing Boats, St IvesOil on canvas panelSignedInscribed to verso30 x 40cmCondition report: This oil is behind glass, the technique involves a sparing use of paint. With outlines, in particular, one can see the primed ground. The overall impression is of a painting in good condition without damage and without re-touching, but, in need of a clean
George Fagan BRADSHAW (1887-1960)Busy Sunlit WatersOil on panelSigned30x40cmCondition report: This oil has had some overpainting in secondary areas (see image), the signature is weak, it may benefit from cleaning. The overall impression is of a bright painting well presented and in good condition
Samuel John Lamorna BIRCH (1869-1955)The Cornish RivieraOil on canvasSigned122x152.5cmAn extract from the news publication "Truth" - Wednesday 18th May 1927.Art - The Royal Academy - "The most uplifting view of Mount's Bay from the hills a Mr. S.J. Lamorna Birch, A.R.A. entitled "The Cornish Riviera". The G.W.R. ought to have an eye on this picture".The painting was reproduced in the Illustrated London News - Saturday 07 May 1927 under the heading "Pictures of Outstanding Interest".Extract from the Western Morning News - Friday 18 March 1927THE CORNISH RIVIERA - "Though a Lancashire man, Mr Lamorna Birch practically makes his home Cornwall, which has brought him fame, culminating in the new honour of A.R.A. He shows several oils this year. "The Cornish Riviera" an exquisite combination landscape, and seascape. On the hills between Penzance and Gurnard's Head Mr Birch felt the beauty of springtime in Cornwall and, looking back over Mount's Bay, the Great Western Railway, and St Michael's Mount, was impressed with the magnificent view that so many thousands of people admire". Condition report: This impressive oil has been lined and restored with the lightest of touches, the lining seems to have had virtually no effect on the impasto, under UV light there is no sign of damage and very, very little re-touching
Sven Berlin (1911-2000), a still life study of flowers in a jug, oil on canvas, monograms signature to lower right corner, 29.5 cm x 24 cm, framed.Estate of the late Della Howard. Please see the related article on https://www.dawsonsauctions.co.uk/Condition report: No apparent damage or repair to the painting. Some cracks to the frame.
19th century English school, 'The Soldiers Return', invalided troops processing through a town scene, unsigned oil on canvas, 60 cm x 90 cm in a gilt frame.Condition report: The canvas has been relined and the surface has been extensively overpainted and as such, it is very difficult to see the extent of any damage.The stretchers of the canvas look a little fresh and have possibly been replaced and then stained to simulate age.The painting still remains a pleasing decorative picture and a popular subject matter.
Guillaume Dominique Jacques Doncre (Zeggercappel 1743-1820 Arras)Portrait of a woman preparing shoe buckles signed and dated 'D. doncre pinxit 1796' (on table, lower right)oil on canvas80.6 x 65.5cm Footnotes:This unusual subject may well be a unique visual record of a significant episode in the history of the French Revolution involving citizens making the public gesture of giving up their valuable worldly goods to the greater glory of the new regime. The Assembly in Paris started a register of donors' names to encourage patriotic gifts of jewellery and silver or gold tableware. Shoe buckles – which until then had been a means of displaying personal wealth – became incriminating symbols of the old regime and many were sent to the Assembly to raise funds for the cause. The loose shoe buckles required some preparation, and in this painting the sitter has been sewing pairs of silver buckles onto playing cards. Around this time, billets de confiance (promissory notes issued in advance of assignats, the new revolutionary paper money) were often printed on playing cards, so their presence in this work may represent more than just a support for the buckles.For further information on this lot please visit Bonhams.com
Lady Elizabeth Butler (British, 1846-1933)Dawn of Waterloo The 'Reveille' in the bivouac of the Scots Greys on the morning of the battlesigned with initials and dated '18 EB 95' (lower left)oil on canvas127 x 196cm Footnotes:To be sold on behalf of a charitable institution.Provenance:The artist.By descent from Lady Butler to her daughter, Eileen, Viscountess Gormanston.To Eileen's daughter, Ismay, wife of Lord Ninian Crichton-Stuart.To their son, Major M.D.D. Crichton-Stuart, Palace of Falkland, Fife.Thence by descent.Property of the Falkland Stewardship Trust.Literature:Paul Isherwood & Jenny Spencer-Smith, Lady Butler, Battle Artist, exhibition catalogue, 1987, cat. no. 60, illustrated p. 108.Exhibited:Aldershot, Club House, 1895.London, Royal Academy, 1895, no. 853.London, National Army Museum, Lady Butler, Battle Artist, May–September 1987, travelling to Durham Light Infantry Museum and Arts Centre and Leeds City Art Gallery, October 1987-February 1988.Elizabeth Southerden Thompson, later Lady Butler, is arguably the greatest British military painter of the nineteenth-century. She was born in Switzerland and from the age of sixteen trained at the South Kensington Schools in London and in Florence at the Accademia di Belle Arti. As is evident in her sketchbooks, Butler had expressed an interest in military subjects from early in her training and, at the age of nineteen, even visited the site of the Battle of Waterloo. However, it was upon viewing the work of Jean Louis Meissonier whilst visiting Paris in 1870 that she was truly inspired by military subjects, and these became her sole focus. Butler's significant private commission of 1874, The Roll Call, signifies her break as a professional artist, as the work achieved critical praise and popular success when exhibited at the Royal Academy in the same year. Impressed, Queen Victoria would go on to purchase the painting and it is still held in the Royal Collection. The Roll Call, along with most other paintings produced by her in the ensuing years, would focus on the Crimean Wars.Marriage in 1877 to Colonel William Butler would bring a great deal of fresh subjects for the artist to capture, as she was able to travel widely through the British Empire with her new husband. Significant oils relating to colonial warfare were produced during this time, perhaps most notably The Remnants of an Army: Jellalabad, January 13th, 1842 and The Defence of Rorke's Drift, January 22nd, 1879. However, her husband, having recently been honoured with a knighthood and promoted to Brigadier General, was injured at Wadi Halfa in 1886. This prompted a return to permanent residence in the UK. Butler began work on the present picture in the summer of 1893 at her home in Delgany, County Wicklow. Her aim was to create as great a sense of realism as possible. As such, in her words, '...not a thing [was] painted in the studio', and instead she relied on the warm summer evenings to prepare twilight studies. Given the rural location of the family home, Butler explains where her models came from: 'I pressed many people into my service as models, and I think I got their fine Irish faces very true to nature. I even caught an Irish Dragoon home on leave in the village, whose splendid profile I saw at once would be very telling.' It is understood that this model is the central figure in the composition's foreground.In November 1893, William Butler took command of 2nd Infantry Brigade at Aldershot where the painting was continued – the old court martial hut having been fitted with skylights was repurposed as a studio. Butler made good use of the Brigade's soldiers and her sketches produced during this time show some of the focal figures slumbering and awakening. It is here that the painting was completed and in March 1895 it went on display at the Club House, Aldershot, before being exhibited at the Royal Academy in the same year.The painting shows young troopers of the 2nd Royal North British Dragoons - Scots Greys - awakening on the morning of 18th June 1815. Later that day they were to take part in the heroic charge of the Union Brigade. A charge which, at first successful, ended in terrible losses to the British. The work can therefore be seen as a commemorative piece which alludes to the ultimate sacrifice a soldier can make. Perhaps Butler's most famous painting, Scotland For Ever!, depicting the charge itself, now hangs in Leeds City Art Gallery (see fig.1).The present work represents an artist matured in their craft. It captures the stoic virtue with which Elizabeth Butler's soldiers are so often imbued, but there is a sensitivity to this work unlike others by her. In Butler's own words, it was 'never painted for the glory of war, but to portray its pathos and heroism'.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Pre-Raphaelite type oil on canvas Portrait Painting in gilt frame, overall size 44cm x 33cm. The sitter is similar to Marie Spartali (Marie Stillman (1844-1927) who was a British member of the second generation of the Pre-Raphaelite Brotherhood, a painter and model including for Dante Rossetti.
SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Marina".Oil on canvas.Signed in the lower right corner.Measurements: 43 x 62 cm; 71 x 80 cm (frame).In this work, Segundo Matilla offers us an evocative coastal landscape, with a rotten wooden hut occupying the first line in front of the immense sea. Solitary sailboats are silhouetted against a horizon marbled with filtered light.Despite being born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the School of Fine Arts in Barcelona, under the direction of Antonio Caba. An outstanding representative of Spanish impressionism, he participated in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organized by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honorable mention in 1891) or the Art Exhibitions of 1918 and 1919. In 1897 he obtained an honorable mention at the National Exhibition of Fine Arts in Madrid for his painting "Washerwomen of Galicia". He also showed his work in Paris, taking part in exhibitions such as the French Artists' Salon of 1897. Among his individual exhibitions, those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute, stand out. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Of special success was his very large exhibition (one hundred and fifty works) held at the Sala Parés in 1914, received with unanimous praise by the critics of the time. The following year it was presented in Madrid at the Salón Vilches, where all the works exhibited were sold. He achieved great public and critical success thanks to his landscapes of the Ampurdán, Camprodón, Port de la Selva and Cadaqués. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and pictorial technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape painter and sailor, painting portraits of great quality, especially of people from the world of show business, and his flower paintings and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, among them his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Flower vase".Oil on canvas. Relined.Presents craquelure and lifting of the pictorial layer.Attached certificate issued by Dr. Gerardo Pérez Calero.Needs restoration.Signed in the lower right corner.Measurements: 81 x 46 cm.Scene that has as protagonist a vase with flowers where the loose and sketchy brushstroke is combined with a masterful treatment of the light, very thought and studied, that models the volumes reinforcing the three-dimensional sensation. Everything in the composition is rational, balanced and symmetrical except for the flowers themselves, which are arranged randomly.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he participated in numerous exhibitions of fine arts, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
MODEST URGELL INGLADA (Barcelona, 1839 - 1919). "Landscape at sunset". Oil on canvas. Signed in the lower right corner. Size: 144 x 297 cm; 175,5 x 326 cm (frame). As can be appreciated in this canvas, Urgell's landscapes possess an atmosphere, a color and a theme radically opposed to the stereotype of Mediterranean landscape created by the French impressionist painters. His images, lyrical and of great evocative power, speak of melancholy and loneliness, and recreate a desolate and sad Catalonia. In his work there are frequent twilight lights that dissolve, self-absorbed figures, cemeteries, empty beaches, immortalized and retained on the canvas through his subjective vision of the world, fully romantic and, above all, personal and independent. Modest Urgell studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina. Later he spent some time in Paris, where he met Gustave Courbet and became a member of the realist movement. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as of the Artistic and Archaeological Museum of Girona. He sent his paintings to numerous exhibitions and contests, to those of Barcelona and to the National Fine Arts of Madrid, as well as to the Universal of Paris and to the International of Munich, Brussels, Berlin, Philadelphia and Chicago. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are captured in his album "Catalunya" (1905), consisting of more than one hundred drawings accompanied by texts written by himself. Modest Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."La butte de Montmartre sans la neige" (The hill of Montmartre without the snow).Oil on cardboard.Signed in the lower right corner. Titled on the back.Measurements: 37 x 44,5 cm; 53,5 x 62 cm (frame).The Parisian district of Montmartre inspired deeply the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet gives us a view of the emblematic Montmartre hill with the Sacré Coeur Basilica in the background, one of the most repeated sites by the artists of the time. In it, the painter captures the underlying essence of one of the most magical places in the French capital, through a daring technique and a totally harmonious and matching color palette, determined by the melting snow.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the beginning of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work.
OTTO FRIEDRICH WEBER (Germany, 1890-1957)."Landscape with houses". circa 1915.Oil on canvas.Signed in the lower right corner.Measurements: 51 x 51 cm; 60 x 60 cm (frame).Otto Weber initially studied at the Werkkunstschule in Wuppertal, where Max Bernuth was his teacher. His first drawings were acquired by Baron August von der Heydt, father of Eduard von der Heydt, who also allowed the budding artist to attend the painting class at the Dresden Academy. In Munich, Weber became a pupil of Hermann Urban, where he learned the technique of wax color, which was still new at the time. A commissioned work took Weber, who accompanied the landscape painter Edmund Steppes on a trip through southern Germany, to Paris, where he was the only German artist to exhibit at the Salons d'Automne of 1911 and 1913. He lived with numerous Cubist artists at the artists' house La Ruche, in the Passage de Dantzig, and, like his compatriot Arno Breker, was a friend of the young Pablo Picasso. In 1914 Weber traveled to Spain. In Barcelona he joined the colony of artists around Robert Delaunay, who like him had escaped military service and who influenced Weber's work. Weber exhibited at the Josep Dalmau Gallery in 1915, and later in Madrid and Toledo. He made a living drawing caricatures for the Spanish press. In 1919, Weber returned with his family to Elberfeld, where Edmund Becher's Galerie Raumkunst offered him exhibition opportunities. In 1927 he returned to Paris, where the city of Wuppertal commissioned him to design a mural. The newspaper Le Soir called him "the greatest German painter of the time." During the Nazi era, Weber was forbidden to travel, which made it almost impossible for him to work, as he often spent several months of the year in Mediterranean countries for preliminary studies. His paintings, including Die Schreitende, were removed from museums, and his studies were destroyed in the phosphorus attack on Wuppertal in 1943, resulting in the loss of a considerable part of his life's work. Weber lived out the end of the war in Eindhoven. Otto Friedrich Weber was a member of the Rhenish Secession, the Bergische Kunstgenossenschaft and the Malkasten in Düsseldorf. The Von der Heydt Museum in Wuppertal dedicated a memorial exhibition to him in 1958.
MODEST URGELL INGLADA (Barcelona, 1839 - 1919)."Landscape with figure".Oil on canvas.Signed in the lower left corner.Measurements: 58.5 x 46 cm; 83 x 71 cm (frame).Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as of the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like windows open to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.
JOSE ARPA PEREA (Carmona, 1858 - Seville, 1952). "San Antonio, USA". Oil on canvas. Re-colored. It has slight repainting. Signed and located in the lower left corner. Size: 98 x 82 cm. In this work of arid landscape, the artist deploys a palette rich in shades and color variations, which brings a great richness to the few elements that make up this desert landscape. Through touches with the brush he achieves an almost microscopic image of the small vegetation growing in the center of the scene. This solitary image has the presence of a child whose blue dungarees stand out against the warmth of the ochers. This work, located in San Antonio, speaks of a key facet in the visa of the artist, who had to leave Mexico due to the revolution, settling in the Texan city of San Antonio, where he created an art school. José Arpa Perea was a Spanish painter specialized in landscapes who developed much of his work in North America. He moved from Carmona to Seville when he was ten years old, where he combined his work as a brush painter with night classes at the School of Fine Arts of Santa Isabel de Hungría in Seville from 1876, where he met Eduardo Cano. Between 1883 and 1886 he lived in the city of Rome, with great needs due to the meager scholarship granted to him by the Diputación de Sevilla, where he painted historical canvases. On his return to Seville, he set up his own studio and began to be recognized, obtaining commissions such as the decoration of the Mercantile Circle and the Military Casino of the city. He deepened his orientalist facet thanks to a trip to Morocco in 1895. He lived in Mexico between 1896 and 1910, leaving later to San Antonio (Texas, United States) because of the Mexican Revolution, setting up a painting academy in this city and receiving commissions, enjoying an economic situation that allowed him to make frequent trips to Spain, with long stays in Seville and visits to the Cantabrian coast. He stayed in this American city for more than 30 years. Throughout his life he was in frequent contact with the landscape painters of the well-known Alcalá de Guadaira School, and his work could be seen in numerous cities in all the countries where he lived (Seville...), and is preserved in important private collections around the world and in prominent institutions such as the Museum of Fine Arts of Seville, the Cajasol Museum, the Museum of Huelva, the San Antonio Museum of Art (United States), the University Museum Casa de los Muñecos (Puebla, Mexico), etc.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."Church with characters".Oil on canvas.Signed in the lower left corner.Work exhibited at the retrospective of Elisée Maclet held in Paris in 1960. With label on the back.Measurements: 80,5 x 65 cm; 95 x 79,5 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
"PEREJAUME"; BORRELL GUINART (Sant Pol de Mar, Barcelona, 1957)."The painting", 1998.Oil on canvas.Signed, dated and titled on the back.Presents label of the Joan Miró Foundation, Soledad Lorenzo Gallery (Madrid) and Joan Prats Gallery.Measurements; 16 x 24 cm; 20 x 27,5 cm (frame).In this work the artist plays with the different textures of oil, combining an abstract composition with figuration. Concentrating in one work the painter's universe, which is defined by the representation of a man, which is arranged in the lower right area. In fact, the most important areas of the work seem to start from the protagonist man, as if through his imagination, he created his own environment.Painter, experimental artist and poet, Perejaume was self-taught, although influenced by artists such as Joan Brossa, with whom he shares a work that straddles painting and poetry. In 2005 he was awarded the National Prize for Visual Arts, granted by the Generalitat de Catalunya. The following year he was awarded the National Prize of Plastic Arts, from the Ministry of Culture. His work can be seen in the ARTIUM in Vitoria, the Centro de Arte Reina Sofía, the MACBA in Barcelona, the Museo Patio Herreriano in Valladolid, the Museum of Contemporary Art in Sydney, the Coca-Cola and Telefónica Foundations and the Chase Manhattan Bank Collection, the Caja Madrid Contemporary Art Collection, the European Central Bank in Frankfurt and the Deutsche Bank Collection, among other public and private institutions around the world.
AUGUSTE CHAIX (France, 1860 - 1922)."River landscape".Oil on canvas.Signed in the lower right area.Measurements: 38 x 61cm.; 56 x 79cm. (frame).Auguste Chaix is an artist active in France in the last quarter of the 19th century and the first decades of the 20th. In direct contact with the avant-garde, his painting assumes many of the objectives and contributions of impressionism. In his work, battle scenes and portraits of soldiers, on the one hand, and landscape, on the other, are of fundamental importance. Landscape became a genre of great importance in French painting after Romanticism and Realism, and it is, in fact, where some of the main innovations of avant-garde art are embodied. Impressionism was interested in plein air painting and atmospheric capture, and post-impressionism would add a new use of color and brushstroke. The work we now present is nourished, above all, by the impressionist contributions. The artist offers us a view of a wild landscape, with the architectural elements camouflaged among the bushes. The pond in the foreground absorbs a rich chromatic range of ochre, sienna and earth from the lower plane. The brushstroke is undone and not very draftsmanlike, material and impastoed, and the painter is interested in capturing the effects of light. The whitish light of an overcast sky predominates, although it clears up in small areas, revealing a sky of intense blue, which feeds the play of contrasts.
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