Null 何塞-古铁雷斯-索拉纳,马德里(1886 年 / 1945 年),《棺材前的面具》,约 1930 年
纸上水墨 左下角有签名。纸张背面印有 "Circ…
描述

何塞-古铁雷斯-索拉纳,马德里(1886 年 / 1945 年),《棺材前的面具》,约 1930 年 纸上水墨 左下角有签名。纸张背面印有 "Circle of the Fine Arts "的墨水垫和编号。背面印有马德里 Biosca 画廊的背面标签 参考书目: -Maria Jose Salazar,"Jose Gutierrez Solana 1886-1945,素描",Fundacion Botin 2013,第 348 页 fig.121.I,第 352 页 nº122 -Manuel Sanchez Camargo,"Solana,绘画和素描",马德里,Afrodisio Aguado 1953,rep.第 68 页-Luis Alonso Fernandez,"J. Solaba 作品研究与编目",Conde Duque 文化中心,1985 年;第 306 页 nºD.82 -VVAA,"Jose Gutierrez Solana 西班牙画家",马德里 Espasa Calpe 1936 年(封面) 尺寸:纸张:24.5 x 22 厘米24.5 x 22 厘米

119 
前往拍品
<
>

何塞-古铁雷斯-索拉纳,马德里(1886 年 / 1945 年),《棺材前的面具》,约 1930 年 纸上水墨 左下角有签名。纸张背面印有 "Circle of the Fine Arts "的墨水垫和编号。背面印有马德里 Biosca 画廊的背面标签 参考书目: -Maria Jose Salazar,"Jose Gutierrez Solana 1886-1945,素描",Fundacion Botin 2013,第 348 页 fig.121.I,第 352 页 nº122 -Manuel Sanchez Camargo,"Solana,绘画和素描",马德里,Afrodisio Aguado 1953,rep.第 68 页-Luis Alonso Fernandez,"J. Solaba 作品研究与编目",Conde Duque 文化中心,1985 年;第 306 页 nºD.82 -VVAA,"Jose Gutierrez Solana 西班牙画家",马德里 Espasa Calpe 1936 年(封面) 尺寸:纸张:24.5 x 22 厘米24.5 x 22 厘米

估价 4 500 - 6 000 EUR
起始价格 3 000 EUR

* 不计佣金。
请参考拍卖条款计算佣金。

拍卖费用: 27 %

该拍品的拍卖已经结束 查看结果

您可能同样喜欢

洛伦佐-弗雷奇拉(巴利亚多利德,1927 年 - 马德里,1990 年) 无题 钢,复制品 171/500。 已签名并编号。 天鹅绒衬底,严重玷污。 尺寸:12 x 9 x 5 厘米(雕塑);2 x 11 x 7.5 厘米(底座):12 x 9 x 5 厘米(雕塑);2 x 11 x 7.5 厘米(底座)。 Lorenzo Frechilla del Rey 是一位西班牙雕塑家。他曾就读于巴伦西亚工艺美术学校。1948 年,他参与创建了巴利亚多利德前卫团体 Pascual Letreros。这是一个受乌拉圭人华金-托雷斯-加西亚(Joaquín Torres García)的建设性普遍主义影响的文学艺术团体,一直活跃到 20 世纪 50 年代上半叶。该团体的理论家和创始人是乌拉圭诗人何塞-帕里利亚(José Parrilla),乌拉圭画家阿尔玛-卡斯蒂略(Alma Castillo)、劳尔-哈维尔-卡布雷拉(Raúl Javiel Cabrera)、巴利亚多利德艺术家普布利奥-维夫里多-奥特罗(Publio Wifrido Otero)、杰拉尔多-平塔多(Gerardo Pintado)、普里米蒂沃-卡诺(Primitivo Cano)以及坎塔布里亚雕塑家特奥多罗-卡尔德隆(Teodoro Calderón)也参与其中。直到 1954 年,他一直与他们一起参展。 1951 年,他搬到马德里,在那里遇到了他的妻子特雷莎-埃吉巴尔(Teresa Eguibar),她也是一位雕塑家。两人都搬到了巴黎,从 1961 年起,他们加入了国际东西方小组,并在六十年代与该小组一起在欧洲巡回展出。1968 年,他前往北欧国家。他与东西方小组一起在挪威展出,并在瑞典赫尔辛堡举办了个人画展,还在巴黎举办了两次个人画展。 1969 年,他参加了马德里大学计算机中心举办的计算机艺术研讨会。他与 Eusebio Sempere、Jose Luis Alexanco、Manuel Barbadillo、Manolo Quejido、Jose Maria Yturralde 和 Teresa Eguibar 一起参加了控制论艺术展。1990 年,他在马德里去世。

JR LOSADA POCKET WATCH Nº9205 Sabonet pocket watch manufactured by JR LOSADA with manual winding mechanical movement Nº 9205, Victorian style dial made of silver decorated with gold, Roman numerals with auxiliary dial for the seconds hand located above the number VI, blued steel hands, inscription "JR LOSADA 105 REGENT ST. LONDON N.9205" (identical in machinery). Box numbered 10782 with hallmarks corresponding to 18 kt gold. (English royal crown and 18), the city of London (leopard head), typesetter (FM) - possibly Frederick Samuel Matthews - and the year of manufacture, 1876, (letter A), covers with chiseled decoration of plant motifs, palmettes and intertwined garlands of initials JPM, smooth duster, bombe crystal and fluted crown. Running condition that requires review. Weight: 126.15 gr. / Diameter: 50 mm. It is presented in an original leather case with gold embossing with the inscription "JR LOSADA 105 REGENT ST. LONDON", purple velvet and white silk interior with a logo after the London Exhibition of 1862. It is accompanied by a royal spring, two complementary crystals, Replacement dial in black and white enameled copper with Roman numerals and purchase invoice for £35 dated July 14, 1877 with an apocryphal signature of Jose Rodriguez de Losada. Reference bibliography: Moreno, R. Jose Rodriguez Losada - Life and work, Ed. Fundacion Juanelo Turriano, Madrid, 1995, pp. 83-91. Provenance: Madrid, DURAN SUBASTAS, lot 82 from undetermined auction (possibly 70s-80s); Bilbao, private collection. Jose Rodriguez Losada (Iruela, 1797-London, 1870) can be considered the most famous Spanish watchmaker of the last centuries. Once his watchmaking business was established, he quickly began to be known in London, receiving numerous commissions from the Spanish and Latin American markets, as well as from the Spanish Royal House. He was appointed chamber watchmaker to Queen Elizabeth II and timekeeper to the Spanish Navy. Losada died in London in 1970, bequeathing his fortune and businesses to his sisters, nephews, personal doctor and servants. The famous watchmaker had his nephews Miguel, Francisco and Norberto as apprentices, the first of them being the trusted man of Losada until he was disinherited in 1868 due to disagreements with his uncle. Given this fact, “the house, factory and firm JR Losada are inherited in their entirety by that of his nephew Norberto.” The youngest of his nephews took charge of the business until the end of the century, losing the property due to financial problems in favor of his brother Miguel, later associated with Francisco. Norberto de Riego y Rodriguez de Losada did not respect the numbering of his uncle's clocks close to number 6275 in 1870 - the year of his death -, marking a new one around 10,000. This fact makes us see how the watch with number 9205 was made in 1877, a time when the watchmaking manufacture fell to Norberto de Riego,It is especially curious how he keeps the invoices and documentation associated with his uncle's watches, even signing apocryphally as JR Losada. The watch, its case and the associated documentation represent a first-class testimony for the study of Spanish and British watchmaking of the 19th century. It must be taken into account that there are not many perfectly documented artifacts from Norberto de Riego that are preserved. Nor are there cases from this context, such as the one preserved in the collection of Jose Daniel Barquero (ref. OR-016 JDBC from MIARB) or the invoice, closely related to the one preserved by the current Relojeria Losada in Madrid.

Musketeers with Dog in the Cantina - José de Llaneces (Madrid, 1864-1919) - 19th century Madrid school of manners Oil on canvas: 65 x 50 cm, dimensions with frame: 90 x 75 cm. (Madrid, 1864-1919). Painter of the Madrid Romanticist school. Known in the artistic world for Llaneces. His artistic inclination arises through his work, since he was a child, in the photographer Herbert's workshop and his training at the School of Arts and Crafts. He also attends the Higher School of Painting at the San Fernando Academy and is a copyist at the Prado Museum. In 1886, he settled in Paris, where he focused on genre and dress painting, under the protection of the commercial success that this subject achieved in the international market, imbued with the artistic trail of Fortuny. His friendship with Francisco Domingo, well known in the Argentine art world, opens the doors to the Buenos Aires market, from where he receives important commissions not only for painting, but also for sculpture. Secretary of the Society of Artists in Paris, he was named knight of the order of Charles III in 1894, knight of the Legion of Honor in 1901 and commander of the royal order of Isabella the Catholic in 1902. At the beginning of the century he returned to Spain and dedicated himself to the execution of portraits, which he combined with landscape painting and anecdotal popular scenes that he collected in various cities. He enjoys the protection of royalty, with numerous portraits he paints of Queen María Cristina and distinguished members of her court. He ended his life by committing suicide in Madrid on December 11, 1919. In 1925, the Paris Salon paid tribute to him with a posthumous exhibition of his work held in France. In 1901 he donated a statue of Goya to the Prado Museum, sent from Paris, where he lived. Provenance: liquidation of an important private collection in Seville.