Null ALFRED OPISSO CARDONA (1907-1980). Sketch of a female nude.
Signed.
39 x 28…

Description

ALFRED OPISSO CARDONA (1907-1980). Sketch of a female nude. Signed. 39 x 28 cm; 53.3 x 43 cm (frame).

955

ALFRED OPISSO CARDONA (1907-1980). Sketch of a female nude. Signed. 39 x 28 cm; 53.3 x 43 cm (frame).

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Estim. 900 - 1 100 EUR

Europe - BRIDGENS (Richard). Sketches Illustrative of the Manners and Costumes of France, Switzerland and Italy. London, Baldwin, Cradock & Joy ; Hatchard and son, 1821. Small folio (31.5 x 24 cm) with 1 f. b. c., IV pp. 46 f. b. c. and 49 plates, burgundy half-maroquin with corners, smooth spine, black title page, untrimmed (period binding, spine rebacked, corners restored). First edition of 50 copper-engraved and hand-colored plates, including a title-frontispiece and a folding plate (costumes and popular scenes from Dieppe, Boulogne, Paris, Turin, Rome, etc.). Engraved bookplates of American bibliophiles John Nolty (1851-1930), New York printer and president of the Evening Post, and Bernardine Murphy (1904-1968), philanthropist and papal countess. Light foxing and foxing to boards, otherwise a good copy. (Colas, no. 444).

Estim. 700 - 800 EUR

Australia. Notes on the colony of Victoria. Melbourne and Adelaide, 1865-1866. 5 pieces in one vol. in-8, blond half calf, smooth spine (pastiche binding). Stamp (cancelled). A good copy. Interesting collection of very uncommon pieces printed for the 1866 Intercolonial Exhibition, the first in the series, held precisely in the city of Melbourne, or for the 1867 International Exhibition (Paris). The colony of Victoria, in this form, dated only from 1851, when it was separated from New South Wales. I. Statistical summary of the progress of the colony of Victoria to the year 1865; compiled from official records in the registrar-general's office, Melbourne, for the Dublin international exhibition of 1865. Melbourne, John Ferres, 1865, 24 pp. Only one copy in the CCF (Strasbourg). - II. SELWYN (Alfred Richard Cecil); ULRICH (George): Notes of the physical geography, geology, and mineralogy of Victoria. Melbourne, Blundell & Ford, 1866, 92 pp. with 5 plates, including a large folding map. Only two copies in the CCF (Muséum and Quai Branly). - III. ARCHER (William Henry): Progress of Victoria, from 1835, to 1866. Translated from the English by E. Lissignol. Melbourne, Masterman, 1866, title, 149 pp. - IV. Catalog of contributions to the Paris universal exhibition held in Paris, 1867. Adelaide, W. C. Cox, 1866, 31 pp. - V. Exposition universelle de 1867, à Paris. Royal Commissioners of the Colony of Victoria (Australia). Melbourne-London, s.d. [1866], xvi pp. 26 pp. No copy in the CCF.

Estim. 60 - 80 EUR

KHAYYAM (Omar). Rubaiyat. London, Anthony Treherne & co, 1905. In-64 (70 x 53 mm), shagreened calf, smooth spine decorated with gilt crescents, title page, gilt fillet framing the boards, gilt edges (period binding). From the collection "The Waistcoat pocket classics". Some minor rubbing. From the same collection: TENNYSON (Alfred), A dream of fair women. 1903. In-64 paperback, cloth cover with title in blue Art Nouveau letters and blue vignette. 68 x 55 mm.

Estim. 800 - 900 EUR

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966). "Day at the beach". Colored pencils on paper. Signed in the lower right corner. Measurements: 26 x 35 cm; 40,5 x 48,5 cm (frame). Opisso was a painter, draftsman and cartoonist. In his youth he participated in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Familia. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit in the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramón Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings oriented to political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona, and received a third class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings approached the costumbrista theme, specializing in popular scenes. His works of this period are characterized by presenting motley crowds in popular Barcelona scenes. After having exhibited several times in succession at the Sala Parés, he held his first individual exhibition in 1935, at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped great success with both critics and the public. In 1953 he received the recognition of his hometown in the IV Art Fair of Tarragona. During his early years, apart from his surname, Opisso also used to sign his work with an "O" for Opisso, which contains the "R" of his name. Most of his work is preserved in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. As for exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004, under the title "Catalan painting, from naturalism to noucentisme", in which his work "Carnival" was exhibited, stands out. Likewise, the Saló del Tinell (1979), the Palau de la Virreina (1980), the Salón Náutico Internacional de Barcelona (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003) have dedicated anthological exhibitions to him.

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