EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Composition", 1960. Collage of handmade papers. Unique piece.Attached certificate of authenticity issued by the Chillida Foundation.Signed and dated in the lower right-hand corner.Measurements: 75 x 54 cm; 103 x 81.5 cm (frame).In this collage by Chillida, one can appreciate a taste for texture and volume that bear witness to the sculptor's sculptural career. Chillida devoted part of his artistic career to making collages, dividing his production into two different areas. One in which he worked with cut paper, which he glued onto the support of the work, and another area in which he worked with graphic work. He normally used paper with rough textures and a selection of three-tone colours, although he later opened up his chromatic range to five more diverse shades.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
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EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Beltza-Txiki", 1969.Etching on paper. Copy 44/50.Signed and numbered in pencil.Sizes: 33 x 25 cm (paper); 52.5 x 42.5 cm (frame).Chillida begins his training at the School of Architecture at the University of Madrid, but abandons his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He took up drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastian for good, and made his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
VALERY KATSUBA (Belarus, 1965)."Fighters. Real Académica de Bellas Artes de San Fernando", 2016.Analogue photograph on hand-printed C-Print photographic paper adhered to aluminium. Copy 1/4.Work published in the catalogue "La tradición académica", Real Academia de Bellas Artes de San Fernando, Madrid, 2017, p. 13.Measurements: 100 x 100 cm; 103,5 x 103,5 cm (frame).This work belongs to a set that was exhibited at the Real Academia de Bellas Artes de San Fernando, in collaboration with the Academy of Fine Arts of Saint Petersburg and the City Council of Madrid, among other institutions.Valery Katsuba began his training at the Admiral Makarov Higher School of Marine Engineering in Leningrad (now the Admiral Makarov State Maritime Academy, St Petersburg), where he completed a degree in meteorology at the Arctic Faculty with honours. He then began postgraduate research under the guidance of Academician Vladlen Adamenko. It was at this time that he met journalist Sergey Kalinin and art historian Catherine Phillips, and under their influence he began working in journalism. Throughout his career he has participated in numerous exhibitions including: 2000 Winter tales. Central House of Artists, Moscow Photo Biennale, Moscow, 2002 Strength and beauty, Every passion is blind and wild. Central House of Artists, Moscow Photo Biennale, Moscow, 2005 Seasons. My friends. Moscow Museum of Modern Art, Moscow Photo Biennale, Moscow, 2006 Phiscultur. Society of Fine Arts (Círculo de Bellas Artes), Madrid, 2014 100 Years On. Scientific-Research Museum of the St. Petersburg Academy of Arts, parallel program of Manifesta 10, European Biennale of Contemporary Art, St. Petersburg, 2014 Morning. St. Petersburg Academy of Arts, 2015 Faraway from home. St. Petersburg Academy of Arts, 2017 Academic tradition: Saint Petersburg-Madrid. Museum de Bellas Artes de San Fernando, Madrid, 2018-19 Models: classics and contemporary. National Museum of San Carlos, Mexico City and 2021 Valery Katsuba: Russian Romantic Realism, Shanghai Center of Photography, Shanghai. His work is currently held in numerous major art collections, among which are for example; Georges Pompidou National Center for the Arts, Paris, El Centro de Arte Contemporaneo 2 de mayo, Madrid, Shanghai Center of Photogaraphy, Shanghai, the State Russian Museum, St. Petersburg, Moscow Museum of Modern Art, Moscow. Moscow Museum of Modern Art, Moscow, Multimedia Art Museum, Moscow, Suzdal Museum of Fine Culture, Suzdal, State Archive of Film and Photo Documents, St. Petersburg, French National Association for Contemporary Art, Paris and the Academia de Bellas Artes de San Fernando, Madrid.
GOYA Y LUCIENTES, Francisco de.- Los proverbios: coleccion de diez y ocho laminas inventadas y grabadas al agua fuerte / por Don Francisco Goya.- Madrid: Publicala la Rl. [Real] Academia Nobles Artes de San Fernando, 1864.- 1 f. litografada: 18 gravuras; 31x43 cm.- E., Complete set of one of the reissues of this series, published on an unidentified date, from the original copper plate matrices, no complete set stamped in the artist's lifetime (1746-1828) is known. Album originally published in 1864 by the Real Academia de Nobles Artes de San Fernando, shortly after acquiring the respective plaques, containing the 18 proofs of the hitherto known engravings, numbered from 1 to 18, in an unjustified print run of 300 copies. This one features the same lithographed title page as the 1864 edition, but without a watermark and includes apparently non-contemporary cellophane separators. The matrices, engraved in etching and aquatint, sometimes with drypoint retouching, do not show any date. Copy with occasional light stains or foxing. Non-contemporary binding, full sheepskin, very dehydrated, with damask silk endpapers and elaborate gold-decorated doublure, signed “Enc. da Biblioteca Nacional 1928” (on the back cover) and “Dourador A. Pinheiro” (on the back cover). Palau, 106 558. Augusto L. Mayer (Francisco de Goya), p. 120-123 and 276-281 (V, nos. 1 to 22). Tomás Harris (Goya: engravings and lithographs), p. 193-198 and fig. 248 to 269.
BYRON, Com. John.- Viaje del Comandante Byron al rededor del Mundo, hecho ultimamente de orden del Almirantado de Inglaterra: en la qual se da noticia de varios paises de las costumbres de sus habitantes, de las plantas, y animales estraños... / traducido del Ingles por el Doct. Don Casimiro de Ortega...- Segunda edicion, en que se añade el Resumen Historico del viage emprendido por Magallanes...- En Madrid: En la Imprenta Real de la Gazeta, 1769.- [16], 176, [12], 55, [1 br.] p.: 1 gravura, 1 mapa desdobr.; 20 cm.- E., Second edition of the Spanish translation, published just two years after the original English edition (the first Spanish edition was published in the same year as the second). The work tells the voyage around the world of the English navigator John Byron (1723-1786) who, between 1764 and 1766, commanded the frigate Dolphin, accompanied by the frigate Tamer, through the Pacific Ocean, in search of new continents, having returned to England less than two years after his departure. The translator included at the end a “Resumen histórico del primer viaje hecho al rededor del mundo, emprendido por Hernando de Magallanes, e llevado felizmente á termino por el famoso capitan español Juan Sebastian del Cano”, with its own title page, next to page 176. In his work, Byron highlights the encounter with the giants of Patagonia, in Tierra del Fuego (represented in the engraving next to the title page), previously mentioned by the Portuguese navigator, but never scientifically confirmed. The fold-out map represents the Strait of Magellan in detail. Very clean contemporary binding copy, complete with flexible parchment. Palau, 38230. Borba de Moraes, p. 138.
A SPANISH SILVER INKSTAND, MAKER'S MARK E.MZ, PROBABLY REAL ESCUELA Y FABRICA DE MARTINEZ, MADRID, 1806 beaded borders throughout, the pointed oval stand with trellis pierced gallery, on shaped panel feet, with its silver cylindrical containers and covers, two as inkwells with glass liners, one with pierced cover, the central pounce pot with pierced top, undersides of all containers and stand with assay zigzag, maker's, town and assay marks 23cm long, 692gr (22oz)
![Francisco de Goya [Los Desastres de la Guerra. Madrid, Real Academia 1903]. Vollständige Suite der unter dem Eindruck de](https://cdn.globalauctionplatform.com/c2655bca-6e61-47c8-b527-ae98010a19d5/630ffce5-d0f3-44b5-bf6f-ae9a00ebffe5/468x382.jpg)
Francisco de Goya [Los Desastres de la Guerra. Madrid, Real Academia 1903]. Vollständige Suite der unter dem Eindruck des Guerillakrieges gegen Napoleon in Spanien entstandenen großartigen Bildgeschichte Goyas. Die Serie wurde von Goya bereits 1810-20 angefertigt, die erste Ausgabe allerdings erst 1863 in nur 500 Exemplaren veröffentlicht. Die eindrucksvolle Suite gilt in ihrer apokalyptischen Darstellungsweise als die vollendetste Leistung Goyas auf dem Gebiet der Radierung. - Wohl dritte Ausgabe, die in einer Auflage von 100 Exemplaren erschien. EINBAND: Lose Tafeln auf festem beigefarbenem Vélin-Papier ohne Wasserzeichen. Plattengr. ca. 16 : 22 cm, Papierformat 23,5 : 33 cm. - ILLUSTRATION: Folge von 80 Orig.-Aquatintaradierungen. LITERATUR: Harris II, 121-200 und und I, S. 139ff. - Delteil 120-199. 3rd edition. Numb. series of 80 aquatinta etchings. Loose plates on strong wove paper. Plate size ca. 16 : 22 cm, sheets measure 23.5 : 33 cm. - Partly slightly browned and foxed (mostly in the margins). Plates partly in the outer margins with minim. defects. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
![Francisco de Goya [Caprichos. Madrid, Calcografía Nacional für Real Academia de San Fernando um 1890-1900?]. Berühmte sa](https://cdn.globalauctionplatform.com/c2655bca-6e61-47c8-b527-ae98010a19d5/90006d8c-0a72-46e2-be9d-ae9a00ebff6c/468x382.jpg)
Francisco de Goya [Caprichos. Madrid, Calcografía Nacional für Real Academia de San Fernando um 1890-1900?]. Berühmte satirische Graphikfolge Goyas über die Narrheit und Eitelkeit der Menschen. 'In seinen Caprichos zieht Goya die ganze Spannweite seiner Sprachmittel zur ersten, umgreifenden Darstellung seiner Weltsicht' heran (W. Hofmann, Kat. Hamburg). Er veranschaulicht die Verkommenheit des Volkes und die Verlotterung des Hofes sowie die Verblödung der Geistlichen par excellence. Wohl 6. Auflage, erschien in 230 Exemplaren, mit den Kennzeichen wie bei Harris beschrieben (facettierte Plattenränder, Kratzer im linken Himmel auf Tafel 66 sowie zwei Kratzer in der Tafel 19). - 'This edition is slightly better than the fifth; the impressions are more brilliant, though sometimes over-inked. Two scratches appear in this edition on Pl. 19: a very short one near the top edge and another diagonally between the tail and wing of the bird-man' (Harris). EINBAND: Lose Tafeln auf festem beigefarbenem Vélin-Papier. Plattengr. je ca. 21,5 : 15 cm, Papierformat 32,5 : 24 cm. - ILLUSTRATION: Folge von 80 Radierungen mit Aquatinta. LITERATUR: Harris II, 36-115 VI (von 12). - Vgl. Gäßler S. 35ff. 6th edition. Numb. series of 80 aquatinta etchings. Loose plates on strong wove paper. Plate size ca. 21.5 : 15 cm, sheets measure 32.5 : 24 cm. - Slightly browned and slightly foxed (especially in the margins), 2 sheets with a small tear in the margin. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
1959 European Cup Football Memorabilia: Real Madrid v Stade Reims programme with name to cover, Real Madrid rosette, Typed notes about the weeks visit to Germany and two privately taken small photos of outside the Neckar Stadium and inside with Madrid about to take a corner with packed stand behind. Nice items from the cup winning year for Real Madrid.
8mm Big Match Football Cine Films: Includes 1975 ECF Bayern Munich v Leeds, 1960 ECF Real Madrid v Eintracht, 1968 ECF Manchester United v Benfica,1965 ECWC Final West Ham v TSV Munich, George Best 6 goals for Manchester United at Northampton and more with a few other subjects. For full list check online photos. (12)
MANCHESTER UNITED Twenty eight programmes for 1999 European Cup Final in Barcelona, 1999 Toyota Final in Japan, plus European games at 67/8 Hibs Malta two different copies, 1991 Athinaikos, 1992 Torpedo 3 different copies plus games at Lyon, Real Madrid, Juventus, PSV, Feyenoord, Monaco, Porto, Panathinaikos, Villareal, Friendlies at Amsterdam 1962 and others in Australia, USA, China and Denmark (28). Good
MANCHESTER UNITED Twenty five programmes, including homes v Manchester City 10/2/1968 postponed and the remainder are aways including 2008 Super Cup Final in bag, FA Cup S-F's 1962 and 1965, Doncaster 75/6, Aalborg 79/80 X 2, Linfield 86/7, Goole 86/7, Sporting Lisbon 63/4, Hibernians 67/8 Soccer magazine, York City 75/6, Ajax 76/7, Valencia 82/3, Torpedo Moscow 92/3, Auckland 24/6/1975 and 2008 Champions League Final. Plus Salute To Manchester magazine and Manchester Evening News 22/5/1968 Now For Europe's Crown and Daily Express colour report on the 1968 European Cup S-F v Real madrid. Generally good
1957 EUROPEAN CUP FINAL Real Madrid v Fiorentina played 30/5/1957 at the Bernabeu, Madrid. ''MARCA'' weekly Madrid Spanish football magazine which extensively reviews the European Cup Final Including many pictures, reports and full team line-ups. This was the first issue produced after the Final. No official programme was produced for the game. Generally good
1968 EUROPEAN CUP SEMI FINAL Real Madrid v Manchester United played 15 May 1968 at the Bernabeu, Madrid. 4-page programme published in Madrid. Titled ''REAL MADRID - MANCHESTER - COPA DE EUROPA - 15 Mayo 1968'' Includes full team line-ups inside and team group pictures of the teams with large match preview plus review of the first leg at Old Trafford etc. Neatly folded both ways as issued. Generally good
BRITISH V FOREIGN FOOTBALL PROGRAMMES Approximately 80 programmes Man. Utd. V Wiener 58/9 and Real Madrid 59/60, split spine, Fulham v Blauweiss 56/7, Arsenal v Spartak 54/5, Red Star 56/7, Frankfurt 57/8 and Juventus 58/9, Everton v Nurnberg 65/6, Leeds Utd. v Ferencvaros 68 Fairs Cup Final, Liege and Ujpest Dozsa both 68/9, Oxford Utd. v Spandauer 63/4, Nottm. Forest v Valencia 61/2, Brighton v Frem 60/1, Sligo v Valkeakosken Haka 83/4, Sunderland v Winterhur 59/60, Drumcondra v Nurnberg 61/2, Ards v Liege 73/4, Basel v Glentoran 76/7, Glentoran v Benfica 67/8, Zurich v Rangers 76/7, Rangers v Real Madrid 63/4, Vienna 64/5, Dresden 67/8 and Bilbao 68/9. Some are slightly creased and team changes. Generally good
MANCHESTER UNITED Fifteen home programmes v Aston Villa 48/9, Sunderland and Stoke 49/50, Leeds Utd. 50/1 FA Cup, Sunderland 52/3, Man. Utd. 54/5 score on cover, Bolton 55/6 creased, Sunderland and Real Madrid 56/7, Shamrock Rovers, Dukla Prague both with tokens missing and AC Milan 57/8, Vienna 58/9, Real Madrid 59/60 token missing and Tottenham 63/4 ECWC. Some are slightly creased and team changes. Fair to generally good
MANCHESTER UNITED Twelve programmes for home Friendlies: 1958 Young Boys, 1959 Vienna and Real Madrid including ticket, 1960 Real Madrid and Bayern Munich, token removed, 1961 Football League v Italian League, 1962 Benfica, creased, worn and tape, 1969 England v Russia U-23, punched holes, 1974 Glasgow Rangers, 1975 Red Star Belgrade, 1976 England Youth and 1982 Bolton, Headrige Memorial. Fair to generally good
GERARDO RUEDA SALABERRY (Madrid, 1926 - 1996)."Untitled", 1959.Oil on canvas.Signed and dated in the lower left corner.It has slight faults.Measurements: 59 x 80 cm; 63 x 83 cm (frame).This painting belongs to a defining period in Gerardo Rueda's logbook, a few years in which he enters fully into abstraction but giving himself a logical continuity with respect to his previous stage in which he made incursions into the urban landscape: here, the architectures have been transformed into superimposed sheets, into dislocated perspectives, into material suggestions. Thus began his poetic abstraction linked to an abstract expressionism that was more lyrical than gestural.Considered one of the key artists of the second half of the 20th century, Rueda was a pioneer in the introduction of Informalism in Spain, and the creator of the Museum of Abstract Art in Cuenca together with Zóbel. He exhibited for the first time in Madrid in 1949, and since then his work has been increasingly present in the artistic circles of the capital. In 1957 he made the definitive international leap and held his first solo exhibition in Paris, at the Galerie La Roue. The exhibition was a great success, and shortly afterwards the then director of the Musée d'Art Moderne de la Ville de Paris, Jean Cassou, acquired his painting "Composition Gris ou Balbina". On the other hand, his solo exhibition in 1958 at the Madrid Athenaeum brought him a great deal of attention in Spain. He took part in the Spanish Pavilion at the 30th Venice Biennale with three paintings. During these years Rueda and Zóbel began to build up their magnificent collection of works by Spanish abstract artists of the post-war period, for the exhibition of which they formed the Museum of Spanish Abstract Art in Cuenca in 1966. Meanwhile, Rueda continued to show his personal work in important galleries, and in 1965 he began to collaborate with the Juana Mordó in Madrid, which would eventually become his gallery. The following year he also won the Serra Brothers Prize at the Salón de Mayo in Barcelona. In 1967 he acted as art purchasing advisor to the Fundación Santander Central Hispano, whose collection he helped to build up; two years later he took part in the XII Festival dei Due Mondi, at the Palazzo Collicola in Spoleto. His fame continued to grow, as did his recognition, and in 1973 he created a granite mural relief, now in the Museo de Escultura al Aire Libre del Paseo de la Castellana in Madrid. In 1980 he was one of the founding members and patron of the Fundación de los Amigos del Museo del Prado, with which he organised an important Goya exhibition three years later. In the eighties he continued to carry out important projects such as the mural painting of the Spanish Embassy in Riyadh and the remodelling of the Santa Cruz Museum in Toledo. During these years he also made numerous trips to various European capitals and also to Latin American and North American capitals, where he visited the modern art collections of their most important museums. In 1988 he was commissioned to make the stained glass windows in the central nave of Cuenca Cathedral, a task to which he devoted himself from 1989 to 1992. The eighties ended with an anthological exhibition of his work, organised by Caja Madrid. He subsequently exhibited twice at the Museo Nacional Centro de Arte Reina Sofía, and the IVAM devoted nine exhibitions and catalogues to his work between 1996 and 2008. In 1995 he was appointed member of the Real Academia de Bellas Artes de San Fernando. Gerardo Rueda is currently represented at the Museo Nacional Centro de Arte Reina Sofía, the British Museum in London, the Fine Arts Museum in San Francisco, the Museum of Modern Art in Paris, the Rufino Tamayo Contemporary Art Museum in Mexico, Caracas and Barcelona, etc.
SOLEDAD FERNÁNDEZ (Madrid, 1949)."Sea in the background".Oil on canvas.Work reproduced in SOLEDAD FERNANDEZ, EDICIONES SAMMER, 2007.The piece encloses the book with the reproduced work.Signed in the lower right corner.Size: 146 x 114 cm; 176 x 143 cm (frame).Through a realistic aesthetic, the artist configures a symbolic image in which lyricism plays a leading role. The piece draws from sources such as surrealism, allowing us to glimpse a certain approach to the work of Duchamp, where the spectator approaches the piece in a veiled way, like a voyeur contemplating a scene that has not required his or her participation.This painter from Madrid is considered by critics to be one of the best realist painters of the moment, one of her favourite themes being the human body, especially the female nude, always wrapped in paper or cloth, which gives the work a certain magic and mystery. Art critics such as Santiago Amón, Francisco Prados de la Plaza, Francoise Tempra, José Pérez Guerra, José Pérez Guerra, Carlos García Osuna, Santos Torroella, Javier Rubio, Mario Antolín, M. L. Camboy, Tomás Paredes, Antonio Morales, Julia Sáenz-Angulo, Rafael Perelló-Paradelo, Agustín Romo, J. Marcaro Pasarius, Héctor López, Ángel Azpeitia, Antonio Lisboa and David Amor, among others.in 1949 he moved to Collado Villalba (Madrid), where he currently lives. In 1960, and for seven years, she studied in the studio of the Sevillian School painter José Gutiérrez Valle. She is, therefore, a "workshop" painter. Later she continued drawing at the Circulo de Bellas Artes in Madrid and attended several contemporary art competitions. In the 80's she visits and studies art in Paris, London, Rome and Venice, each day going deeper into the techniques she had already learnt in Madrid. After several exhibitions of lesser importance, in 1987 he exhibited in London at the Sammer Gallery and later in Madrid, El Escorial, Barcelona, Palma de Mallorca, Zaragoza, etc. He also attended national and international fairs such as Washington (USA), Chicago (USA), Santander (Spain), Valencia (Spain), Miami (USA), etc. In 1987 he was awarded the first prize for foreign painting (ex aequo) at the XXIX International Competition "Grolla d'Oro de Treviso", Venice, and in 1989 he won the first prize at the VI Durán Painting Prize Competition. His works can be seen in the following museums: Musée Quentovic (Le Touquet, France), National Museum of Fine Arts (Valletta, Malta), Cathedral Museum (Medina, Malta), Museo Bayo (Puerto de Santa María, Cádiz - Spain), Museo de la Real Academia de Bellas Artes de San Fernando (Madrid, Spain) and Museo de Dibujo "Castillo de Larrés" (Huesca, Spain).
A Real Madrid "Galactico" David Beckham, Raul and Zinedine Zidane signed colour photographic print, signed in black marker pen, mounted, glazed and framed, 59 by 47.5cm overall, with COA on reverse of frame.All glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
Steve McManaman signed white Real Madrid replica jersey, Adidas, short-sleeved with UEFA STARBLL, CHAMPIONS LEAGUE and REAL MADRID 1902-2002 sleeve badges, club crest and sponsor logo, signed in black marker pen to front, size L, sold with 5 by 3.5in. colour photograph of Steve McManaman signing jersey, signed prior to Real Madrid v Manchester United 2002-03 Champions League fixture at Old Trafford
A good collection of seven Manchester United matchday posters dating between 1957 and 1999, comprising: 1957 Real Madrid v Manchester United, 11th April, 66 by 44cm., bears tears and splits along fold lines, tack holes; 1968 Gornik Zabze v Manchester United, 13th March, 61 by 85cm., bears tears and splits on fold lines, fragile;1983 Raba Gyor v Manchester United, 70 by 50cm., fragile, tears; 1991 Cup Winners' Cup Final at Feyenoord Stadium v Barcelona, 15th May, 70 by 50cm., bears fold lines; 1983 Dukla Prague v Manchester United, 27th September, 43 by 86cm., bears tears and tape repairs; 1999 World Club Championship Palmeiras v Manchester United in Tokyo, 103 by 73cm.; 1999 Champions League Final v Bayern Munich 26th May, signed by Sir Alex Ferguson and United's 1968 European Cup winner Pat Crerand in black marker pen, 58 by 48cm.; (7)
Real Madrid winner's medal for the 2007-08 Supercopa del Futbol Espanol, inscribed SUPERCOPA DEL FUTBOL ESPANOL 2007-2008, reverse inscribed REAL FEDERATION ESPANOLA DE FUTBOL, with silver-printed red and yellow ribbon suspension, in gilt circular form, diameter 5.5cm.Provenance: Awarded to a Real Madrid staff member after the aggregate 6-5 victory over Valencia in the two-legged match, August 2008.
Bartolomé Esteban Murillo, RosenkranzmadonnaÖl auf Leinwand (doubliert). 167,2 x 112 cm.Signiert unten links: Murillo f:.ProvenienzKloster Carmen Calzado, Sevilla bis ca. 1810. – Wahrscheinlich Manuel del Real Garcia, Sevilla. - Julian B. Williams, Sevilla. - 1834 verkauft an Sir William Eden, 4th Baronet of Maryland (1803-1873). - Im Erbgang an seinen Sohn Sir Robert Johnson Eden. - Danach sein Sohn Timothy Calvert Eden. - Sotheby´s London 26.7.1933, Lot 17. - The Newhouse Galleries, New York von 1922-1938. - Dort von dem Pianisten José Iturbi 1938 erworben. - Nachlass José Iturbi und Marion Seabury 1980-2008. - Bonhams Los Angeles, 2.6.2008, Lot 186 (als B. E. Murillo, Werkstatt). - Dort vom jetzigen Eigentümer erworben.AusstellungenLondon 1895/96: Exhibition of Spanish Art under the patronage of Her Majesty the Queen Regent of Spain, The New Gallery, Katalog S. 28-29, Nr. 123. - London 1913/1914: Illustrated Catalogue of the Exhibition of Spanish Old Masters in support of National Gallery Funds and for the benefit of the Sociedad de Amigos del Arte Espanol, Grafton Galleries London, Katalog S. 76-77, Nr. 70, Abb. XXXII.LiteraturD. Ortiz de Zúñiga: Anales eclesiásticos y seculares de la Muy Noble y Muy Leal cindad de Sevilla, Tomo V 1796, p. 37. – F. Arana de Valflora: Compendio histórico descriptivo de la Muy Noble y Muy Leal ciudad de Sevilla, Metrópoli de Andalucía , primara parte, Sevilla 1798, P. 44. – J. A. Ceán Bermúdez: Diccionario de los más ilustres profesores de las Bellas Artes de España, Madrid 1800, II, p. 59. – E. Davies: The life of Bartolomé Esteban Murillo; compiled by verious authors, London1819, p. 95. – F. Gonzalez de León: Noticia Artística, histórica y curiosas de todos los edificios públicos y sagrados de la Muy Noble …, Sevilla 1844, vol. I, p. 199. – W. Stirling Maxwell: Annals of the artists of Spain, London 1848, vol. 4 p. 1610. – F. M. Tubino: Murillo, su época, su vida, sus cuadros, Sevilla 1864, p. 205. – C. B. Curtis: Velázquez and Murillo, London 1883, p. 152, Nr. 87. – M. F. Sweeter: Murillo, Boston 1879, vol. 5, p. 131. – P. Lefort: Murillo et ses élèves, suivi du catalogue raisonné de ses principaux ouvrages, Paris 1892, p. 74, Nr. 85. – C. Justi: Murillo, Leipzig 1892, p. 41. – L. A. Mayer: Murillo. Des Meisters Gemälde, Stuttgart/Berlin 1913, p. 27, Abb. B. – L. A. Mayer: Anotaciones a obras murillescas. In: Boletín de la Sociedad Española de excursiones, XLII, Madrid 1934, pp. 14-18. – J. A. Gaya Nuño: La pintura española fuera de España, Madrid 1958, p. 242, Nr. 1865. – J. A. Gaya Nuño: L´Opera completa de Murillo, Milano 1978, Nr. 34. – D. Angulo Iñiguez: Murillo. Su vida, su arte, su obra, Madrid 1981, pp. 148-149 (about the painting in Florence, Palazzo Pitti). – A. J. Álvarez Calero: Dos cuadros desconocidos de Murillo que se hallaban en el convento Casa Grande del Carmen de Sevilla. In: Laboratorio de Arte 24, Sevilla 2012, pp. 301-314. – A. J. Álvarez Calero: Nuevas aportaciones sobre el cuadro „La Vírgen del Rosario“ procedente del antiguo convento del Carmen de Sevilla atribuído a Murillo. In: Ucoarte. Revista de Teoría e Historia del Arte, 5, 2016, pp. 69-95. – H. Brigstocke: William Eden: The discovery of Murillo with his friends in Spain. In: I. Kent (ed.): Collecting Murillo in Britain and Ireland, Madrid/London 2020, pp. 99, 120, 122.Bartolomé Esteban Murillos ist einer der bedeutenden Meister des „siglo de oro“, des goldenen Zeitalters der spanischen Malerei, und seine Werke befinden sich in den großen Museen der Welt. Bewundert werden sie vor allem wegen ihres volkstümlichen Realismus und der menschlichen Mystik, die Murillos religiöse Malerei auszeichnet. Der Meister aus Sevilla, der seine Heimatstadt nur einmal im Leben für eine kurze Reise nach Madrid verlassen hat, malte insgesamt vier Tafeln mit dem Motiv der „Rosenkranzmadonna“, von denen zwei besonders ähnlich sind. Die eine befindet sich seit 1822 als Geschenk des Großherzogs Ferdinand III. von Lothringen im Palazzo Pitti in Florenz, und die zweite ist das hier vorliegende Werk, das als einziges der vier signiert ist.Aus verschiedenen schriftlichen Quellen des 18. Jahrhunderts wissen wir, dass sich in der Sakristei des Klosters Carmen Calzado in Sevilla eine „Madonna mit Kind“ von Murillo befand. Die große Tafel, die die Madonna in Lebensgröße zeigte, war offensichtlich von den Karmelitern bei dem jungen, nicht unweit des Klosters wohnenden Maler in Auftrag gegeben worden. Sie verblieb „in situ“ bis zu den Wirren der napoleonischen Zeit, als kirchliche Einrichtungen säkularisiert und geplündert wurden. Anders als viele andere bedeutende Kunstwerke, die damals auf den Markt kamen und ins Ausland verkauft wurden, blieb diese Madonna von Murillo offensichtlich in Sevilla. Denn 1833 erwirbt sie dort der Engländer Julian Benjamin Williams, ein leidenschaftlicher Kunstsammler und Kunstagent. In einem kürzlich veröffentlichten Brief vom Januar 1833 an William Eden in England schreibt Williams, dass er gerade eine großartige Madonna in Lebensgröße von Murillo erworben habe. Ein Jahr später, am 12. April 1834, schreibt er nochmals an Eden, offenbar ihm antwortend: „The Virgin del Rosario which you mention I conclude to be the large Picture by Murillo that I hang at the end of the long room on the right in the Centre space. The Virgen full length is seated with the child on her lap. It belonged to the Sacristia del Carmen Calzado and is mentioned in Cean, also in Pons, who calls it bellisima." (H. Brigstocke, op. cit., S. 120)Noch im selben Jahr kaufte William Eden, 4th Baronet of Maryland (1803-1873) das Gemälde und ließ es in seine Residenz Windelstone House, Durham, schicken (H. Brigstocke, op. cit., S. 122). Murillos „Rosenkranzmadonna“, gelegentlich auch „Madonna Eden“ genannt, blieb im Besitz der Familie über drei Generationen, bis sie 1933 in London versteigert wurde. Sie wurde damals von der New Yorker Newhouse Gallery erworben, die sie später an den Pianisten José Iturbí verkaufte. Aus dessen Familien-Nachlass wurde sie 2008 völlig verkannt als “studio of Bartolomé Esteban Murillo“ auf einer Auktion in Los Angeles versteigert und dort von dem jetzigen Eigentümer erworben (Bonhams Los Angeles 2.6.2008, Lot 186). Über zwei Jahrhunderte genoss die Tafel allgemeine Bewunderung als ein Werk von Murillo; zunächst im Kloster selbst, später in der Sammlung Eden sowie auf zwei Ausstellungen Spanischer Malerei in London (1895/96 und 1913/14).In seiner Monographie zu Murillo von 1913 veröffentlichte Ludwig Mayer die Eden-Madonna ohne Einschränkungen bezüglich der Zuschreibung anhand einer alten Photographie (L. A. Mayer, op. cit.). Warum er 1934 seine Meinung zu dem Gemälde geändert hat und es dann für eine Kopie hielt, ist nicht bekannt (L. A. Mayer, op. cit.), auch nicht, ob er es je im Original gesehen hat. Sicher ist jedoch, dass er irrtümlicherweise die sehr ähnliche Komposition aus dem Palazzo Pitti für die Tafel aus dem Karmeliter-Kloster von Sevilla hielt, was heute widerlegt ist. Mayers Urteil über das Bild hat sich später auch Angulo Iniguez (1981, op. cit.) zu eigen gemacht. Auch bei ihm ist es fraglich, ob er das Bild im Original gesehen hat, da ihm sein Verbleib nicht bekannt ist.Im Lichte kürzlich ausgeführter technologischer Untersuchungen und kunsthistorischer Studien von einer jüngeren Kunsthistorikergeneration wie Alvarez Calero, Ignacio Cano (H. Brigstocke op. cit. S. 120) und Hugh Brigstocke (siehe Literatur) wird die „Eden-Madonna“ wieder als charakteristisches Werk aus der frühen Reifezeit des Malers gesehen, das um 1645/1650 für das Kloster Carmen Calzado in Sevilla gemalt wurde. Die Bedeutung dieses Auftrages scheint der Maler mit seiner Unterschrift ausdrücklich bestätigen zu wollen. Abgesehen von der Signatur, hat die technologische Untersuchung von Rafael Romero Asenjo und Adelina Ilán Gutierrez 2013 eine weitere B
Football Items. A box of football delights to include 1950s Sports Argus, football cards, black and white photos, 1960s tickets, foreign correspondence, European Cup 1963 32 page publication, football collectors ephemera 1960s, Young’s 1952 sporting catalogue, a 1958 tennis trophy, Football Special 79 stickers, large Real Madrid coin etc (1 Box) Good
Faksimile - - David, Gérard. Horarium Flamenco de el Escorial. Das Stundenbuch 1486. Faksimile des MS Vitr. 12 der Biblioteca Real de El Escorial. Madrid, Testimonio, 1998. 15,5 x 12 cm. Blindgeprägter Original-Lederband mit Metallschließe, Goldschnitt, in Original-Samtkassette.Eins von 980 nummerierten Exemplaren. - Mit Begleitband: Brinkmann, Bodo. Kommentar zur Faksimile-Ausgabe. Münster, Bibliotheca Rara, 2017 (Sonderausgabe für Kasi-Verlag). 96 S. Original-Kartonage. - Sehr gutes Exemplar.
Football Toni Kroos 16x12 overall Real Madrid mounted signature piece includes signed album page and a colour photo in action for Real Madrid. Toni Kroos (born 4 January 1990) is a German professional footballer who plays as a midfielder for La Liga club Real Madrid. Kroos plays mainly as a central midfielder, but has also been deployed as a deep lying playmaker in his career. Known for his vision, passing, creativity, crossing and set piece ability, Kroos is widely regarded as one of the best midfielders of his generation. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Oil on canvas, with motifs of gargoyles, angels over a fountain and the bust of a lady adorned with Spring flowers, including chrysanthemums, roses and daffodils. In the central plane, a parrot facing the stone bust of a lady. Framed measurements: 213 x 260, canvas measurements: 145 x 204. Reference literature: Museo del Prado (1995). The beauty of the real. Vases and still lifes in the Prado Museum 1600-1800. Exhibition catalogue. Madrid: Publyco S.A. ISBN 84-87317-43-X; Pérez Sánchez, Alfonso E., Italian painting of the 17th century in Spain, Madrid, Fundación Valdecilla, 1965, pp. 313-318. Related Works: "Still Life" (Man with Monkey and Fruit), oil on canvas, 102 x 132 cm, 17th century [Museo del Prado, inventory number P005273]; "Mirror with three Cupids", oil on canvas,
Oil on canvas, framed measurements: 74 x 75 cm, canvas measurements: 46 x 33 cm. Born in Valencia on September 19, 1772, he began his artistic training as a disciple of the Franciscan Antonio de Villanueva at the Academy of San Carlos in Valencia, an institution where he won the first class prize in 1789 with the canvas King Hezekiah showing off of his riches (Museum of Fine Arts of Valencia San Pío V), endowed with 40 pesos and a pension to study in Madrid. Already at court, the following year he won first place in the San Fernando Academy competition with the painting The Catholic Monarchs receiving an embassy from the King of Fez (San Fernando Academy, Madrid), and there he assimilated with extraordinary fidelity the academic teachings inherited from Mengs fundamentally through Mariano Salvador Maella, from whom Vicente López picks up the baroque and colorful sense of his compositions and the taste for drawing, precise and analytical, as a method of prior study of his paintings, being equally dazzled by the baroque lavishness of the frescoes by Luca Giordano and Corrado Giaquinto, that he contemplates in real places, and that will decisively influence the aesthetic language of his compositions. Returning to his hometown in 1792 as a prestigious painter, he carried out numerous commissions in those years, especially religious paintings and murals for Valencian churches, as well as portraits, monument projects and a large number of drawings to engrave, remaining in Valencia during the War of Independence, a time when, In addition to making the full-length portrait of Ferdinand VII with the habit of the order of Carlos III (Valencia City Council and Játiva Municipal Museum, Valencia), he will portray Marshal Soult and other French soldiers on several occasions. The portrait style of Vicente López, respectful and objective with his characters, captured with a personal sense of realism -inherited from the Valencian naturalist tradition, through the canvases of Ribalta and Ribera-, together with his extraordinary mastery in reproducing the qualities of the fabrics and the sumptuousness of the jewels and tinsel, made Fernando VII claim the Valencian artist at court on July 26, 1814, naming him his first court painter on March 1 of the following year. Since then he will become the most requested painter of the wealthy aristocracy and bourgeoisie of Madrid, alternating his work at the Palace with his teaching activity, official positions and his private commissions. In 1818 he painted the spectacular Allegory of the donation of the casino to Queen Isabel of Braganza by the Madrid City Council (Prado), contributing decisively in those years to the project of the Royal Museum of Paintings, appointed by the Crown to select and restore the paintings that they had to constitute it, and whose artistic direction he would assume from 1823. Three years later he made his superb portrait The painter Francisco de Goya y Lucientes (Prado), without a doubt, his best-known work and the most emblematic effigy of the Aragonese painter, bound for the gallery of contemporary artists of the Museum. Director of the decorative program of the Royal Palace of Madrid, in 1828 he painted the Allegory of the Institution of the Order of Carlos III for one of its ceilings, multiplying his portrait activity in those years. In 1831 he finished the portrait of Ferdinand VII with the habit of the Order of the Golden Fleece for the Embassy of Spain to the Holy See, perhaps the most imposing and overwhelming effigy of this monarch, while his very personal style gradually accommodated to the formal language , not to the spirit, of the thriving romanticism of the Elizabethan era. He was a draftsman until a few days before his death, when he finished the portrait of General Narváez (Museo de Bellas Artes de Valencia San Pío V), and died in Madrid on July 22, 1850. Reference Bibliography: Díez García, José Luis , Vicente Lopez (1772-1850). Life and work, Madrid,
Oil on copper, framed measurements: 53 x 45 cm, copper measurements: 14 x 11 cm. Born in Valencia on September 19, 1772, he began his artistic training as a disciple of the Franciscan Antonio de Villanueva at the Academy of San Carlos in Valencia, an institution where he won the first class prize in 1789 with the canvas King Hezekiah showing off of his riches (Museum of Fine Arts of Valencia San Pío V), endowed with 40 pesos and a pension to study in Madrid. Already at court, the following year he won first place in the San Fernando Academy competition with the painting The Catholic Monarchs receiving an embassy from the King of Fez (San Fernando Academy, Madrid), and there he assimilated with extraordinary fidelity the academic teachings inherited from Mengs fundamentally through Mariano Salvador Maella, from whom Vicente López picks up the baroque and colorful sense of his compositions and the taste for drawing, precise and analytical, as a method of prior study of his paintings, being equally dazzled by the baroque lavishness of the frescoes by Luca Giordano and Corrado Giaquinto, that he contemplates in real places, and that will decisively influence the aesthetic language of his compositions. Returning to his hometown in 1792 as a prestigious painter, he carried out numerous commissions in those years, especially religious paintings and murals for Valencian churches, as well as portraits, monument projects and a large number of drawings to engrave, remaining in Valencia during the War of Independence, a time when, In addition to making the full-length portrait of Ferdinand VII with the habit of the order of Carlos III (Valencia City Council and Játiva Municipal Museum, Valencia), he will portray Marshal Soult and other French soldiers on several occasions. The portrait style of Vicente López, respectful and objective with his characters, captured with a personal sense of realism -inherited from the Valencian naturalist tradition, through the canvases of Ribalta and Ribera-, together with his extraordinary mastery in reproducing the qualities of the fabrics and the sumptuousness of the jewels and tinsel, made Fernando VII claim the Valencian artist at court on July 26, 1814, naming him his first court painter on March 1 of the following year. Since then he will become the most requested painter of the wealthy aristocracy and bourgeoisie of Madrid, alternating his work at the Palace with his teaching activity, official positions and his private commissions. In 1818 he painted the spectacular Allegory of the donation of the casino to Queen Isabel of Braganza by the Madrid City Council (Prado), contributing decisively in those years to the project of the Royal Museum of Paintings, appointed by the Crown to select and restore the paintings that they had to constitute it, and whose artistic direction he would assume from 1823. Three years later he made his superb portrait The painter Francisco de Goya y Lucientes (Prado), without a doubt, his best-known work and the most emblematic effigy of the Aragonese painter, destined for the gallery of contemporary artists of the Museum. Director of the decorative program of the Royal Palace of Madrid, in 1828 he painted the Allegory of the Institution of the Order of Carlos III for one of its ceilings, multiplying his portrait activity in those years. In 1831 he finished the portrait of Ferdinand VII with the habit of the Order of the Golden Fleece for the Embassy of Spain to the Holy See, perhaps the most imposing and overwhelming effigy of this monarch, while his very personal style gradually accommodated to the formal language , not to the spirit, of the thriving romanticism of the Elizabethan era. He was a draftsman until a few days before his death, when he finished the portrait of General Narváez (Museo de Bellas Artes de Valencia San Pío V), and died in Madrid on July 22, 1850. Reference Bibliography: Díez García, José Luis , Vicente Lopez (1772-1850). Life and work, Madrid,
Oil on canvas. Measurements: 228 x 164 (framed measurements), 205 x 145 (canvas measurements). Provenance: important private collection, Spain. Acisclo Palomino y Velasco (Bujalance, Córdoba, 1655-Madrid), 1726 Cordovan painter and initially trained in Córdoba under the direction of Juan de Valdés Leal while studying humanities. With the help of Juan de Alfaro, a disciple of Velázquez, who was working at the Madrid court, in 1678 he traveled to Madrid. There he was introduced to the circle of Juan Carreño de Miranda and Claudio Coello, who facilitated contact with the royal collections and gave him the opportunity to collaborate on some works, such as the decoration of the room of Queen María Luisa de Orleans, first wife of Carlos II, and the gallery of the cierzo, both of the Real Alcázar. These works allowed him to obtain the title of painter to the king in 1688. The arrival of Luca Giordano in Madrid in 1692 made him interested in learning the technique of fresco, becoming one of the most important Spanish fresco artists of the second half 17th century. He collaborated in the preparation of the vaults of El Escorial and those of the old oratory of the Madrid City Council. Between 1697 and 1701 he worked in Valencia, painting the vaults of the church of Santos Juanes and the basilica of Nuestra Señora de los Desamparados. In 1705, he traveled to Salamanca where he executed the Triunfo de la Iglesia for the choir of the church of San Esteban (in situ). Between 1712 and 1713, He painted eight canvases with scenes and saints related to the history of the city of Córdoba for the chapel of Cardinal Salazar and for the main altar of the cathedral, both in that city. Between 1723 and 1725, he worked on his last work before his death, the decoration of the sacrarium of the Carthusian monastery of El Paular in Granada. Ordained a priest when he became a widower in 1725, he is known more for his facet as a writer and theoretician than for that of a painter, due to the publication of three volumes that, grouped under the title of The pictorial museum and optical scale, deal with The theoretical of painting (1715), the practice of painting (1724) and the award-winning Spanish picturesque Parnassus (1724). The latter consists of two hundred and twenty-six biographies of painters and sculptors who worked in Spain and constitutes a fundamental literary source for the study of the history of Spanish art of that period. Reference bibliography: Palomino de Castro y Velasco, Antonio, The pictorial museum and optical scale [1715-1724], Madrid, Aguilar, 1988.
Andalusian School, Circle of JUAN MARTÍNEZ MONTAÑÉS (Alcalá la Real, Jaén, 1568 - Seville, 1649); 17th century."Infant Jesus".Carved and polychrome wood.It shows faults and restorations.It shows signs of xylophagous remains.It has an adaptable base.Measurements: 48 x 25 x 16 cm, 53 x 25 x 16 x 16 cm (base).Polychrome wood carving representing the Infant Jesus full-length and naked, which indicates that he was possibly originally dressed in royal robes. The posture adopted by the body of the Child Jesus is close to the typology of the Triumphant Child, Saviour of the World, which symbolises the idea of Jesus as man and saviour, lord of the whole Earth, which he redeems with his death and resurrection. It is an iconography that combines divine power and grace with the happy innocence and humble condition of God incarnate: the omnipotence of the Son, being a child with the orb in his hand, like a little boy with his ball. This figuration is also characterised by the gesture of blessing and the absence of any trace of pain.This work is stylistically related to the Spanish Baroque, revealing a special influence of the great master of the Sevillian sculptural school of the 17th century, Juan Martínez Montañés. The material preferred by Montañés was always polychrome wood, with the collaboration of great painters, including Francisco Pacheco, Velázquez's master. He enjoyed great fame and popularity, becoming known in Seville as "the god of wood" and in Madrid as "the Andalusian Lysippus". His art, which he passed on to his pupils in his studio, was inspired above all by life painting, sometimes with more classicist than baroque characteristics. Towards the end of his career, however, he evolved towards a fully Baroque realism. Formally, the classical elegance and harmony, the basis of Baroque works with a mountain influence, stand out. It is, above all, a fully naturalistic work, idealised in terms of the subject matter, but highly realistic and expressive. In the Sevillian environment, the 17th century was a period of enormous economic and, therefore, artistic boom.
LUCA GIORDANO (Naples, 1634 - 1705)."Allegorical scenes following the models of the decoration of the staircase of El Escorial".Oil on canvas. Re-coloured.It has 19th century frames.Measurements: 80 x 105 cm (x2); 97 x 118 cm (frame, x2).Pair of canvases in which a scene of allegorical character is presented in both cases, starring figures of mythological inspiration. The two images differ from each other, although they have a similar compositional structure. In both works a pyramidal composition can be seen, dominated at the top by the presence of a woman holding an attribute in her hands. Below her are all the figures, who appear to be arranged on a large cloud that acts as a base. In both paintings the background is indistinct and is dominated in the upper area by golden clouds that bathe the scene in a warm luminosity. Both paintings follow the aesthetic of the frescoes painted by Luca Giordano in the Escorial. In 1692 the artist was summoned to the Spanish court to participate in the ornamentation of the monastery of El Escorial, both on the staircase and the vaults of the basilica, where he worked between 1692 and 1694. In this area he combined historical scenes and allegories with real characters.Due to its technical characteristics, such as the directed light, the sobriety of the colour palette and the composition of the scene, this scene can be considered to be part of the Italian Baroque period, particularly linked to the artistic circle of Luca Giordano (Naples, 1634-1705), who painted scenes very similar to the one here, such as the one in the Museo de Bellas Artes in Cuba. During his lifetime Giordano enjoyed great popularity in both Italy and Spain. His style was influenced by artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona, whose physical types inspired those of Giordano. During the late 1670s he began his large-scale mural decorations (Montecassino, 1677-1678, and San Gregorio Armeno, Naples, 1679), followed in 1682 by the dome of the Corsini chapel in the church of Carmine (Florence) and those of the gallery and library of the Palazzo Medici Ricardi (Florence). In 1692 he was called to Madrid to carry out the mural decorations in the monastery of El Escorial, both in the staircase and in the vaults of the basilica, where he worked from 1692 to 1694. The former is his most painstaking work, the process of which was closely followed by the monarch himself, Charles II. This was followed by the decoration of the monarch's office and bedroom (destroyed) in the Royal Palace of Aranjuez. He was then commissioned to decorate the Casón del Buen Retiro (ca. 1697); the sacristy of Toledo Cathedral (1698); the decoration of the royal chapel of the Alcázar (destroyed); and Saint Anthony of the Portuguese (1699), in which Giordano depicted eight scenes from the life of Saint Anthony of Padua painted on tapestries. The arrival of Philip V in 1701 and the outbreak of the War of the Spanish Succession led to the end of his royal commissions and his return to Naples, although he continued to send paintings to Spain.
Nike, Adidas, Champion, Bally's Casino, Gildan, Siesta, Weenicons - 10 x international football, league football and casual T-shirts - Lot includes a size large 'Ronaldo number 9' Brazil International FC T-Shirt, a size medium 'Gareth Bale number 11' Real Madrid FC T-Shirt, a size large 'Hernan Crespo number 9' Parma A.C T-Shirt, and similar.
Football Shirts - Nike, Adidas, Puma - 10 x international and league football T-shirts - Lot includes a size medium 'Cristiano Ronaldo number 7' Real Madrid FC T-shirt, a size medium 'Luis Suarez number 9' Uruguay International FC T-shirt, a 'David Luiz number 32' Paris Saint Germain FC T-shirt, and similar.
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Football Shirts and Shorts - Nike, Adidas, Kappa - 10 x international, league football shirts and shorts - Lot includes a size medium 'Cristiano Ronaldo number 7' Real Madrid FC T-shirt, a size extra large 'Ravanelli number 11' Italy International FC T-shirt, a size large AC Milan FC T-shirt, and similar.
Football Programmes - Six European programmes, to include Liverpool v Roma (EC Final) 30/5/84, Liverpool v Real Madrid (EC Final) 27/5/81, Parma v Royal Antwerp (ECWC Final) 12/5/93, Widzew Lodz v Manchester Utd (UEFA Cup) 80/1, CSKA Sofia v Liverpool (EC) 81/2 & Bulgaria v Wales 83/4, gen gd
A box of over 100 assorted football programmes from 1950's & 1960's (some reproductions). To include Everton V Sheffield Wednesday Sat May 14th 1966 at Wembley, Torquay United V Tottenham Hotspur FA Cup 3rd round 9th January 1965 and Manchester United V Real Madrid 25th April 1956-57 season etc.
Spanien - - Spanienreise 1927. Album mit 140 Original-Photographien. Überwiegend Silbergelatine, auf Albumseiten montiert. Maße von 6 x 8,5 cm bis 22 x 16 cm. Quer-4°. Pp. d. Zt. mit goldgepr. DTitel und Kordelbindung (berieben, Rücken angeplatzt). Dokumentiert eine Automobilreise des "Real Automovil Club de Malaga". Enthält Aufnahmen aus Genua, Marseille, Malaga, Torcal de Antequera, Granada, El Chorro, Cádiz, Sevilla, Carmona, Madrid, Escorial, Saragossa, Montserrat, N�mes, Avignon. - Beigelegt: 8 Karten mit Reiserouten verschiedener Streckenabschnitte in Spanien, davon 7 auf Transparentpapier. Spain - Album with 140 original photographs. Mostly silver gelatin, mounted on album pages. Cont. paperback with gilt title and cord binding (rubbed, spine chipped). - Documents a car trip of the "Real Automovil Club de Malaga". Includes photographs from Genoa, Marseille, Malaga, Torcal de Antequera, Granada, El Chorro, Cádiz, Sevilla, Carmona, Madrid, Escorial, Saragossa, Montserrat, N�mes, Avignon. - Enclosed: 8 maps with travel routes of different sections in Spain, 7 of them on transparent paper.
Football, Luka Modri? signed UEFA Championship Final programme from the 2018, Real Madrid CF Vs Liverpool FC match. This programme has a clear signature on the front page in blue marker pen. Modri? (born 9 September 1985) is a Croatian professional footballer who plays as a midfielder for La Liga club Real Madrid and captains the Croatia national team. He plays mainly as a central midfielder but can also play as an attacking midfielder or as a defensive midfielder. He is widely regarded as one of the best midfielders of all time and as the greatest Croatian footballer ever. Good condition Est.
Cristiano Ronaldo signed Real Madrid replica away shirt signature on front next to club badge size XL.Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Francisco Goya Quinta edizione su sette.Splendido esemplare in perfetto stato conservativo, con ampi margini oltre l’impronta del rame. Foglio nella quinta edizione su sette stampata su carta vergellata “Guarro”, edita dalla Real Accademia de Bellas Artes de San Fernando, Madrid 1923. L’edizione è costituita da 100 esemplari.L’incisione è la tavola 34 delle 80 lastre che compongono la serie Los Disastres de la Guerra.La scena rappresenta un uomo ciarlatano, che procede per estrarre i denti senza dolore; accanto a lui, un paziente attende il suo turno vomitando. Secondo un’antica tradizione, questa incisione avrebbe un’allusione politica legata all’identificazione del ciarlatano con il ministro Urquijo, il cui sistema di governo era basato sulla violenza e la repressione.Tra i motivi per cui un uomo poteva essere giustiziato durante la guerra, uno dei più frequenti era quello di avere dei coltelli. All’inizio del secolo i coltelli erano un oggetto indispensabile della vita quotidiana, motivo per cui il loro possesso era così frequente che praticamente non c’era uomo delle classi popolari che non ne portasse uno intorno alla vita. Per questo era ingiusto che, tra i decreti repressivi emessi dalle autorità francesi, l’uso dei coltelli costituisse motivo di pena di morte, anche quando i loro portatori non erano stati colti in azioni violente contro gli invasori. La critica di Goya a queste disposizioni sembra essere la ragione principale di questa stampa.Bibl: Harris 1964 154Acquaforte e puntaseccamm 156×205
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