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Mon 29 Jul

HENRI CARTIER-BRESSON ( Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Farmer", 1950-1959. Gelatin silver. Later print. "To Madame Bardinet en hommage" and blind copyright credit stamp (in margin). Signed in ink. Provenance: Alona Kagan Gallery NY. Measurements: 16 x 23, 5 cm. In this work of great expressiveness we see how a farmer reaches out his hand to someone who is outside the viewer's plane. The scene seems to represent a traditional image, but the artist goes further, not only because it captures a completely ephemeral moment, usual in the artist's production, but also because of the mystery of a character who is part of the scene, but whose identity is not revealed. Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35 mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work.Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected a member of the American Academy of Arts and Sciences. His work is in the collections of the Art Institute of Chicago, the Museum of Modern Art, the International Center of Photography, the Victoria and Albert Museum and the J. Paul Getty Museum.

Estim. 3 000 - 4 000 EUR

Mon 29 Jul

BLEDA Y ROSA, María Bleda (Castellón, 1968) José M. Rosa (Albacete, 1970). Grao de Castellón, 1994. Series "Soccer fields". 1992-1995. Gelatin-silver bromide positive on rigid 100% cotton support. Ed. 5/15. With label of the Visor Gallery, Valencia. Measurements: 45 x 55 cm; 84 x 93 cm (frame) (each one). "Campos de fútbol" is one of the most representative series of the photographers Bleda and Rosa. They themselves explain about this project: "With the aim of representing the passage of time through the photographic image, at the end of 1992 we began to photograph soccer fields, attracted by those spaces that we could find at the exit of any town or on the outskirts of the city. These were places similar to those of our childhood, but due to factors such as migration from the village to the city, low birth rates or urban sprawl, they were in an advanced process of transformation or abandonment". María Bleda and José María Rosa are two Spanish photographers who use photography as a resource for their artistic expression. Their joint work could be considered as a single author and has been recognized with the National Photography Award. Since 1992 they have been holding regular exhibitions, both individual and collective, all over Spain, but also in Scotland, Portugal, the United States, China, etc. Their work can be found in the collections of different institutions such as ARTIUM, Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Contemporáneo de Castilla y León, etc. They have also received several awards and recognitions such as: 1995 Imágenes Jóvenes - Arte Joven, Madrid.1996 Premio Arte Joven, Valencia.1997 Accésit Certamen de Artes Plásticas, Castellón.1999 Grand Prix Ville de Collioure.2001 Premio Altadis Artes Plásticas, Madrid.2002 Honorable Mention, IV Premio de pintura y fotografía ABC, Madrid.2005 Premio PHotoEspaña Fotógrafo Revelación, Madrid. Presents label of the Visor Gallery, Valencia.

Estim. 2 500 - 3 000 EUR

Mon 29 Jul

MARC RIBOUD (Saint-Genis-Laval, 1923-Paris, 2016). "Young girl holding a flower", Washington, 1967. Gelatin silver. Later print. Signed and dedicated "to Patrick" in ink, in the margin. Provenance: Zwigoff collection, New York. Measurements: 25 x 36 cm (image); 31 x 40.5 cm (paper). This photograph of a young woman holding a flower in front of soldiers, taken in the context of a demonstration in Washington against the Vietnam War, is one of Marc Riboud's most celebrated images. The value of the scene, in addition to the emotional force it conveys, is the ability to universalize the message of hope in the midst of the outbreak of violence. Because, in any case, it was always the human side of conflicts that Riboud claimed in his photographs as a war correspondent. Thus, while taking photographs of the war in Vietnam and the Chinese cultural revolution, he also reflected aspects of daily life in cities such as Fez, Angkor, Shaanxi or Benares. Marc Riboud was a French photographer specialized in photojournalism who was part of the Magnum agency. At the outbreak of World War II he was fighting in the Resistance so he began his engineering studies at the École Centrale de Lyon in 1945. He learned photography in a self-taught way from the age of fifteen, using a Vest Pocket Kodak camera provided by his father. After working as an engineer, in 1952 he joined the Magnum agency, after meeting Henri Cartier-Bresson and Robert Capa, where he made the most important reports of his career until 1979. His first photograph published in Life in 1953 was "Painter at the Eiffel Tower". He was among the first photographers allowed to enter China in 1957 and almost the only Westerner to report on the Vietnam War from North Vietnam. He has published numerous books and has exhibited his work in many cities. In 2003 he received the Cornell Capa Award from the Infinity Awards. There have been several retrospective exhibitions of his work such as the one held in 1997 in New York and in 2005 in Paris. Exhibitions (selection since 2010): 2010 Au jardin de Krishna Riboud, Musée national des Arts Asiatiques-Guimet, Paris. 2011 I comme Image, Maison européenne de la photo, Paris. 2012 During the Heritage Days', Saint-Genis-Laval. 2014-2015 Marc Riboud - Beginning of the century, Rhône-Alpes Regional Council. 2014 De grace un geste - Richard Anacreonte Museum of Modern Art, Granville.

Estim. 6 000 - 8 000 EUR

Mon 29 Jul

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both fine artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

Estim. 7 000 - 7 500 EUR

Mon 29 Jul

MARC RIBOUD (Saint-Genis-Laval, 1923-Paris, 2016). "Le peintre de la Tour Eiffel", Paris, 1953. Gelatin silver. Later print. Signed and dated in ink, in the margin. Provenance: O'Hara Collection, New York. Measurements: 37.5 x 24 cm (image); 40.8 x 30 cm (paper). "Painter at the Eiffel Tower" was the first photograph that Marc Riboud published in Life Magazine (1953). In it, we can appreciate an element that crossed Riboud's artistic work: his ability to extract the magic in any activity, no matter how adverse or anodyne it may be. For this reason, although he was a war correspondent, he is remembered above all as a humanist photographer, because it was human values in the face of adversity that he always defended. Marc Riboud was a French photographer specialized in photojournalism who was part of the Magnum agency. At the outbreak of World War II he was fighting in the Resistance so he began his engineering studies at the École Centrale de Lyon in 1945. He learned photography in a self-taught way from the age of fifteen, using a Vest Pocket Kodak camera provided by his father. After working as an engineer, in 1952 he joined the Magnum agency, after meeting Henri Cartier-Bresson and Robert Capa, where he made the most important reportages of his career until 1979. He was one of the first photographers allowed to enter China in 1957 and almost the only Westerner to report on the Vietnam War from North Vietnam. He has published numerous books and has exhibited his work in numerous cities. In 2003 he received the Cornell Capa Award from the Infinity Awards. There have been several retrospective exhibitions of his work such as the one held in 1997 in New York and in 2005 in Paris. Exhibitions (selection since 2010): 2010 Au jardin de Krishna Riboud, Musée national des Arts Asiatiques-Guimet, Paris. 2011 I comme Image, Maison européenne de la photo, Paris. 2012 During the Heritage Days', Saint-Genis-Laval. 2014-2015 Marc Riboud - Beginning of the century, Rhône-Alpes Regional Council. 2014 De grace un geste - Richard Anacreonte Museum of Modern Art, Granville.

Estim. 6 000 - 8 000 EUR

Mon 29 Jul

ANDRÉ KERTÉSZ (Budapest, 1894-New York, 1985). "Satiric dancer". Paris, 1926. Gelatin silver, later printing. Signed, titled and dated in pencil (on verso). Provenance: From the private collection of Schroeder New Jersey. Measurements: 20.6 x 25.5 cm (image); 21 x 26 cm (paper). André Kertész had a superb appreciation for the camera's ability to capture dance and people in motion. The one lying on the sofa in this photograph in a completely anti-archetypal pose is the dancer and cabaret performer Magda Förstner, whom Kertész had invited to the studio specifically for the shoot. The image was taken in the workshop of sculptor István Beöthy, as indicated by the sculptural bust next to the armchair, which serves as the model's inspiration. Kertész himself narrates the situation as, "I said to her, 'Do something in the spirit of the studio corner,' and she began to move on the couch. She just made a movement. I took only two photographs... It's wonderful to photograph people in motion. You don't need to shoot hundreds of rolls of film like you do today. It's about capturing the right moment. The moment when something transforms into something else." Photographer André Kertész was known for his innovative approaches to composition and camera angles, although his unique style initially hindered his recognition in the early stages of his career. Self-taught, his early work was published primarily in magazines, which served as an important platform during that time. After fighting in World War I, he moved to Paris, where he worked for VU, France's first illustrated magazine. He became involved with young immigrant artists and the Dada movement, winning critical acclaim and commercial success. In 1936 he emigrated to the United States where he had his solo exhibition in New York at the PM Gallery and worked briefly for the Keystone agency. There he turned down an offer to work for Vogue, feeling it was not right for him. Instead, he chose to work for Life magazine. His New York period was distinguished by his taking photographs from the window of his apartment, immortalizing moments of everyday life always under the conviction that "Everything is a subject. Every subject has a rhythm. To feel it is the raison d'être. Photography is a fixed moment of such a raison d'être, which lives in itself." In 1963, he returned to Paris and took more than 2,000 black and white photographs and nearly 500 slides that capture the essence of the city of Montmartre, the banks of the Seine, its gardens and parks.

Estim. 4 500 - 5 000 EUR

Mon 29 Jul

HENRI CARTIER-BRESSON (Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Matisse", Vence, France, 1944. Gelatin silver, later printing. Signed in ink in the margin and with embossed photographer's copyright stamp (in the margin). Provenance: Reuben private collection, Chicago. Measurements: 25.3 x 37 cm (image); 31 x 40.8 cm (paper). Henri Cartier-Bresson immortalized French painter Henri Matisse in villa "Le Rêve," his home in the Alpes-Maritimes, when publisher Pierre Braun asked him to photograph writers and artists for a book project that never materialized. At the time the Fauvist painter was 70 years old and, having undergone surgery years earlier, his condition forced him to be prostrate in a chair or bed, as seen in the tendered snapshot. In Le Rêve Matisse drew and painted the white doves that flitted around his room, as well as his regular models, Micaela Avogadro and Lydia Delectorskaya. The Fauvist also spent time in his Nice apartment, where Cartier-Bresson also photographed him. Bresson himself said of these visits to the villa, "When I went to see Matisse, I sat in a corner, I didn't move, we didn't talk. It was as if we didn't exist." Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35 mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work. Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected member of the American Academy of Arts and Sciences.

Estim. 8 000 - 8 500 EUR

Mon 29 Jul

HELEN LEVITT (New York, 1913-2009). "NYC. Masked children on stop", New York, 1940. Gelatin silver, later print. Signed, dated and inscribed "N.Y.C." in pencil (on reverse). Provenance: From the private collection of Schroeder New Jersey. Measurements: 19.4 x 27.7 cm (image); 28 x 34.8 cm (paper). Helen Levitt is considered one of the most relevant photographers of the 20th century and one of the forerunners of today's independent cinema. She belongs to the so-called New York school, which defended a direct and aseptic street photography. She was a student of Walker Evans and Cartier-Bresson, Ben Shanhn and the circle of the Photo League of New York, from whom she learned that search for the instant. Her way of capturing gestures, bodies in movement, the language of the street, have turned her work almost into an anthropological study. In 1939 Helen Levitt's photos were already published in magazines such as Fortune, US Camera, Minicam and PM. Her best known work is in black and white and in the documentary genre, putting her lens on the streets and the inhabitants of the city, especially the children. Proof of this is the exhibition "Helen Lewitt: Photographs of Children" that MoMA in New York dedicated to her in 1943. During her trip to Mexico in 1941 she also portrayed street children. In the 1970s, Levitt photographed the streets of New York with color slides and implemented it into her own language as another resource. It should be noted that he always had a vocation for filmmaking: it was in the 1940s when he made his first documentary film projects, under the orders of the Spanish film director Luis Buñuel, who was exiled in the United States because of the Spanish Civil War. In 1948 he directed the film "In the Street" and "The Quiet One".

Estim. 7 000 - 7 500 EUR

Mon 29 Jul

HENRI CARTIER-BRESSON (Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Jardins du Palais Royal, Paris, 1959. Gelatin silver, later printing. Signed and annotated "pour Tuto" in ink and photographer's copyright stamp in relief (in the margin). Provenance: Reuben private collection, Chicago. The Pompidou Center has a copy of this photograph. Measurements: 37 x 25 cm (image); 41 x 31 cm (plate). Thanks to his hand-held Leica camera, Henri Cartier-Bresson was able to move with ease as he wandered through new cities and foreign places, taking images that combined his bohemian spontaneity with his painterly sense of composition. This modus operandi became known as "the decisive moment," a famous concept that would influence photographers throughout the 20th century. Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work.Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected member of the American Academy of Arts and Sciences.

Estim. 12 000 - 13 000 EUR

Mon 29 Jul

WEEGEE; ARTHUR FELLIG (Ukraine, 1899- 1968). "Circus Biker," c. 1943. Gelatin silver photograph. Slight damage to the frame. Presents stamp on the back "Credit photo by Weegee-The Famous". Measurements: 18 x 13,5 cm; 40x 30,5 cm (frame). Arthur Fellig known by his pseudonym Weegee, was a photographer and photojournalist, praised for his raw photographic style, which presented the street scene in New York City, usually portrayed in black and white. Weegee worked on Manhattan's Lower East Side as a press photographer during the 1930s and 1940s. He developed his signature style by following the city's emergency services and documenting much of their activity. For that reason his compositions depict realistic scenes of urban life, crime, and death. Weegee published books on photography and also worked in film, initially making his own short films and later collaborating with filmmakers such as Jack Donohue and Stanley Kubrick. One of his first jobs was in the photo lab of The New York Times Later, during his employment with Acme Newspictures, his skill and ingenuity in developing live prints earned him the name "Mr. Squeegee." Most of his photographs were taken with equipment and aesthetic guidelines typical of press photographers. He was a self-taught photographer with no formal training. Some of his photos reflect a juxtaposition between the representation of people from high society, along with others who do not belong to the same social circle. Weege's work is widely recognized nationally and internationally and his works are in important private and public collections. In addition, his work continues to generate interest after his death, an example of this was the exhibition Weegee's New York, held in 2009 at the Fundación Telefónica in Madrid. It has slight damage to the frame.

Estim. 500 - 600 EUR

Mon 29 Jul

"PACO PEREGRÍN"; PEREGRÍN, Francisco (Almería, 1976). "Alien Beauty (VI)". Model Naadia Kloet (Delphoss). Exemplar 1/10. Small Edition (limited to 10 copies + 1AP). Digital photography. Lambda print under methacrylate on dibond and aluminium frame. Enclosed certificate issued by the artist. Bibliography: "Otherworldly", Theo Mass Lexileictous and Editorial Gestalten, 2016 (Page 238); "Avenue Illustrated" Magazine, issue 19, Spain, 2009 (page 105); "Ozine Magazine", issue October-November 2009 (Page 199). Work signed and numbered. Size: 50 x 37 cm. In the present work, and inspired by the alien aesthetics, Paco Peregrín has created a beautiful, fashionable and "avant-garde" story between futurism and the extraterrestrial. It shows a personal and striking speculation on the evolution of identity and the transfiguration of human features. Paco Peregrín is an Andalusian photographer, currently considered one of the world's leading talents in artistic, editorial and advertising photography, always highlighting his experimental side in all his work, characterised by its strength and forcefulness. He trained in Seville, adopting a mystical sensibility of compositional schemes and chromaticism inspired by baroque art. It is possible that it was his theatrical experience that gave him the ability to direct his models in front of his camera, to develop his spatial perception and to show the body, presence and time in his work. He currently lives in Madrid, a detail that, together with his time in important cultural capitals (London, New York...) has added contemporaneity and freshness to his work, which is unique. It is also important to highlight his wide experience in design, communication, theatre and painting. He alternates fashion photography for magazines such as Vogue, Harper's Bazaar or L'Officiel with commercial work for brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Adidas, Nike, Gant, Toyota, Lancôme, Shiseido... with signature photography, having exhibited his work in galleries in New York, Paris, Barcelona, Beijing, Madrid, Berlin, Seville, San Sebastián, etc., and in museums and galleries such as the Centro de Arte y Creación Industrial in Madrid, Barcelona, Beijing, Madrid, Berlin, Sevilla, San Sebastián, etc. and in museums and galleries such as the Centro Andaluz de Arte Contemporáneo (Seville), Museo de Artes y Costumbres Populares de Sevilla, Museo Cristóbal Balenciaga (Getaria, Gipuzkoa), Centro de Cultura Contemporánea de Barcelona, Foro Sur, Sala de exp. del Canal de Isabel II, Museo Provincial de Cádiz, etc. His striking work has been recognised with awards such as the LUX Gold National Professional Photography Prize in Fashion and Beauty (2008). The publishing house Gestalten (specialised in art and architecture) has included him among the most important and original projects in the book "Otherworldly", and the publishing house Prestel published his work in "New Fashion Photography", where he is one of the most important references worldwide in contemporary fashion photography.

Estim. 1 400 - 1 600 EUR

Mon 29 Jul

PACO PEREGRÍN (Almería, 1976). "Scorpio", 2015. Digital photograph mounted aluminum. Certificate of authenticity issued by the artist will be delivered. The work is published on the artist's website. -Bibliography: Fucking Young! magazine nº 6 yCatalog of the exhibition "Artificio". Andalusian Center of Photography (CAF), 2018. -Exhibitions: Andalusian Center of Photography (CAF). Solo exhibition "Artificio", from June 1 to July 15, 2018.Measurements: 50 x 40 cm; 51 x 41 cm (frame). Paco Peregrín is a prominent Andalusian photographer, visual artist and creative director, based in Madrid, who works internationally in the world of art, advertising and fashion (he has realized and directed high-level projects for global brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Lancôme, Shiseido, Marie Dalgar, L'Occitane, La Rinascente, Vögele Shoes, Adidas, Nike, etc.). He publishes in prestigious magazines such as Vogue (IT, DE, ES), Harper's Bazaar (US, Russia, Spain and Vietnam), VMAN, L'Officiel, Vanity Fair, ELLE, Marie Claire, Grazia, Cosmopolitan, Glamour, Dsection, Fucking Young!, Vision, Zink!, Neo2, Yo Dona, Vanidad, Schön!, Noi.se, Allure, NYLON, etc. He graduated in Fine Arts from the University of Seville and furthered his training at the International Center of Photography (New York), Central Saint Martins College of Art and Design (London), Universidad Complutense de Madrid, Universidad de Santiago de Compostela... He has received important grants (Pilar Juncosa and Sotheby's, Talens, Universidad Complutense, Ayuntamiento de Sevilla, Proyectos de Fotografía Caja San Fernando, Centro Andaluz de la Fotografía, etc) and his audiovisual work has been awarded in international festivals such as the Chicago Fashion Film Festival, the London Fashion Film Festival, the International Fashion Film Festival Brussels and the Global Short Film Awards Festival in Cannes. His work is part of important art collections (Centro Andaluz de la Fotografía, Comunidad de Madrid, Instituto Andaluz de la Juventud, Universidad de Sevilla, Fundación Talens, Colección de Arte Contemporáneo Delegación de Cultura de Doña Mencía, Centro Andaluz de Arte Seriado...) and is included in numerous books such as "Artificio" (Centro Andaluz de la Fotografía, Editorial Universidad de Almería), "Facing", 6th Crossover Art Project (Marie Dalgar, Beijing), "Super-Modified: The Behance Book of Creative Work" (Gestalten), "Diccionario de fotógrafos españoles (La Fábrica & Acción Cultural Española), "Otherworldly" (Gestalten), "New Fashion Photography" (Prestel), "PALETTE 03: Gold & Silver, New Metallic Graphics" (Victionary), "PALETTE 02: Multicolour, New Rainbow-hued Graphics" (Victionary), "Cazadores de Tendencias: los nombres esenciales de Moda Española" (Lunwerg), "STAND BY_012. Guía de Fotografía Andaluza Actual" (Valentín de Madariaga Foundation & MP Corporation), "Hair'em Scare'em" (Gestalten) or "Arte desde Andalucía para el siglo XXI catalogación monográfica ilustrada del joven arte andaluz" (Consejería de Cultura de la Junta de Andalucía). I have exhibited in galleries in New York, Beijing, Paris, Barcelona, Madrid, Berlin, Seville, San Sebastian, Valencia, Caceres, Almeria .... and in museums such as the Centro Andaluz de Arte Contemporáneo (Seville), the Museo Cristóbal Balenciaga (Getaria, Gipuzkoa), the Museo de Artes y Tradiciones de Sevilla, CaixaForum Sevilla, the Centro Andaluz de la Fotografía, ARTSevilla, Sala de Exposiciones del Canal de Isabel II, Forosur 2004 (Feria Iberoamericana de Arte Contemporáneo) and PHotoESPAÑA. Peregrín's work is rich in symbolism, inspired by classical art, Flemish and Baroque painting and also by the most experimental avant-garde culture. He has focused on the social image of the body, its perception, the canons of contemporary beauty, the concept of the mask, the passage of time, communication in the mass media, advertising in the consumer society, new technologies and the representation of the body as a place to investigate the consequences of power and gender roles today. A certificate of authenticity issued by the artist will be provided. The work is published on the artist's website. -Bibliography: Fucking Young! magazine nº 6 yCatalog of the exhibition "Artificio". Andalusian Center of Photography (CAF), 2018.

Estim. 2 500 - 3 000 EUR

Mon 29 Jul

STEVE MCCURRY (USA, 1950). "Afghan Girl. Peshawar, Pakistan, 1984. Chromogenic print. Annotation on the back: "Fuji color chrystal Archive Paper". Signed in ink in the margin. Provenance: Cesare Manzo Gallery, Pescara, Italy. 1980s edition, ca. 1987. Open edition, unnumbered. Measurements: 45,5 x 30,5 cm (image); 49,8 x 39,5 cm (paper). "The Afghan Girl" is the best known photograph of McCurry's career, and iconic for the history of documentary photography. He took it in 1984, in the Nasir Bagh refugee camp in Pakistan during the Soviet-Afghan war. The girl, Sharbat Gula, was an Afghan refugee who had fled the violence in her country. The girl, with piercing green eyes and wrapped in a red shawl covering her shoulders and hair, captivated viewers around the world. The image appeared on the cover of the June 1985 issue of National Geographic magazine, quickly becoming one of the best known and most powerful photographs of the 20th century. The image became a symbol of the suffering and resilience of refugees and conflict in Afghanistan. It has been widely used to illustrate the plight of refugees around the world. For many years, the identity of the girl in the photograph was a mystery. In 2002, McCurry and a National Geographic team located Sharbat Gula in a remote village in Afghanistan. Her identity was confirmed by recognizing her facial features, especially her eyes. Steve McCurry is an American photojournalist, known worldwide as the author of the photograph "The Afghan Girl," which appeared in National Geographic magazine in 1985. His career as a photographer began with the Afghan War (1978-1992). He has also covered other international conflicts such as the Iraq-Iran war or the Gulf War. After working in King of Prussia, Pennsylvania, for two years, he went to India to work on his own in 1978. After a year there, he traveled to northern Pakistan. His career as a photographer began with his coverage of the Soviet war. In Afghanistan McCurry disguised himself in the country's garb to go unnoticed while working, and took film out of the country by sewing it into his clothes. His images were among the first to depict the conflict and were widely circulated. That work won him the Robert Capa Gold Medal for best foreign photojournalism, and was published in The New York Times, TIME and Paris Match. McCurry continued to cover international conflicts, including the Iran-Iraq war, Beirut, Cambodia, the Philippines, the Gulf War and Afghanistan. He survived a plane crash in Yugoslavia. His work has been published in magazines worldwide, and he is a regular contributor to National Geographic. He has been a member of the Magnum agency since 1986. In his work, McCurry concentrates on the pain caused by war. He tries to show what war does, but not only on the battlefield, but also to the people who live there. He argues that there is always something in common between all humans despite religion, language, ethnicity, etc.

Estim. 10 000 - 13 000 EUR

Mon 29 Jul

HELMUT NEWTON (Germany, 1920- California, 2004). "Shoe, Monte Carlo, 1983. Gelatin silver. Later print. Signed, titled, dated in pencil and copyright credit stamp on verso. No edition number. Provenance: McCord Collection, New York. Measurements: 36 x 24.6 cm (image); 40 x 31 cm (paper). An ankle subtly cocked and shod in a high heeled shoe occupies the entire photographic plane in this iconic image by Helmut Newton. As a place associated with glamour and luxury, Monte Carlo provides a perfect backdrop for Newton's exploration of fashion and eroticism. The fetishism of high heels and female ankles are explored by the artist in different contexts. In all of them, through daring and carefully crafted compositions, he redefines the parameters of fashion photography and eroticism, the role of women and power relations. Provocation, anti-voyeurism and female empowerment are often attributes of her photos. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

Estim. 12 000 - 14 000 EUR

Tue 10 Sep

JAUME PITARCH (Barcelona, 1963). From the series "Matches", n.11. 1999-2000. Photography on baryta paper. Provenance: Gallery dels Àngels of Barcelona. Measurements: 80 x 80 cm; 81 x 81 cm (frame). Artist currently based in Barcelona, Jaume Pitarch studied Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others. Pitarch states that his work "focuses on how productivity has affected our notion of time. Market, work, value or leisure are only complementary expressions of it. It seems that contemporary art practice, participation and consumption are time-based activities and therefore subject to a system of production." He continues "Part of my practice consists of rescuing and reorganizing objects, actions or simple episodes that belong to these contexts in order to provide them with a new reading outside the limits that scheduled or productive time determines. These objects, the reproduction of these actions and episodes should be read as critical and poetic devices that make possible a decelerated revision of reality".

Estim. 1 200 - 1 600 EUR

Tue 10 Sep

MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957). "Chauvet. Cahier de félins". Art book, artist's book and numbered plate signed by the artist. Copy 423/2998. Publisher: Artika Maple wood case. Measurements: 43 x 33 cm (art book and study book); 88 x 33 cm (folder with plate); 49 x 37 x 5,5 cm (box). "Cahier de félins" is a tribute to the Chauvet caves. Unique edition, limited and numbered to 2998 copies, this being the number 1932 signed by the artist. The work consists of a maple wood case with a reproduction of an original by Miguel Barceló in pyrography technique, a facsimile reproduction of the Cahier de félins owned by the artist, a book about the discovery of the Chauvet cave and a numbered plate with a reproduction of one of the felines from the Cahier. Tintoretto Gesso paper of 200 gr.Cover in cotton canvas with an original printed exclusively by Barceló. Painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Picarol Gallery in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovers the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as the "art brut", a style that will exert an important influence on his first paintings. During these years he reads extensively, and enriches himself with works as diverse as the writings of Breton and the surrealists, the "White Manifesto" by Lucio Fontana or the "Social History of Literature and Art" by Arnold Hauser. In 1976 he holds his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural events. In 1977 he makes a second trip to Paris, and also visits London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who will become one of his best friends in the city. Together with him and the photographer Antoni Catany he participates, as a member of the group "Neón de Suro", in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 when he received his first large-format pictorial commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sells his first works to some collectors and galleries, and finally moves to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career after his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognized through the most outstanding awards, such as the Premio Príncipe de Asturias de las Artes (2003) or the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

Estim. 900 - 1 000 EUR
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