Null Exceptional Hispanic Muslim Capital called honeycomb, Islamic work Hispanic…

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Exceptional Hispanic Muslim Capital called honeycomb, Islamic work Hispanic Arab Umayyad period 12th to 13th centuries In carved stone and measures 30 x 23 x 23 cm. Provenance: important private collection, Madrid.

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Exceptional Hispanic Muslim Capital called honeycomb, Islamic work Hispanic Arab Umayyad period 12th to 13th centuries In carved stone and measures 30 x 23 x 23 cm. Provenance: important private collection, Madrid.

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Estim. 1 200 - 1 500 EUR

XAVIER MEDINA CAMPENY (Barcelona, 1943). Untitled. Sculpture in bronze, copy 4/5. Signed and justified on the base. With seal of Fundición Artística Vila. Measurements: 51 x 65 x 37 cm. From the beginning of the seventies date a series of pieces of Medina Campeny whose theme is the human head, focused from multiple points of view, submitting it to modifications. Xavier Medina Campeny, grandson of the sculptor Josep Campeny and great-grandson of Damià Campeny, is a sculptor of self-taught training, who evolved his artistic mood towards a very personal style. He began studying architecture in Barcelona, but abandoned his studies to start in the world of sculpture. It was during this period that he dedicated himself to this art, with a self-taught training. His long artistic career as a sculptor has led him to work with various techniques and materials. As for his first exhibition, he made it in 1964. After ten years he moved to New York, where he created most of his artistic production. After a few years he returned to Spain to stay. His style is closely related to the avant-garde, more specifically with Dadaism. His mastery of drawing has also helped him to relate organic elements with geometric forms. During the years 1975 to 1989, he developed a plastic language of the human body, being a mixture of the anatomical with geometry, which he himself called "fragmentations". At the time of making these bodies, Medina crumbles, divides and geometrizes the parts of the human body to later rejoin them, in order to highlight some parts that he leaves empty. The work Conversación (1979) reflects and tells us about the contrast between the absent and the present. On the other hand, the work The mirror in Atlantic Ocean, balances the form with the background and works the body without fragmenting it. Medina's work can be related to surrealist proposals. For example, in the group Mimetismo animal (Animal mimicry), human attitudes with ironic expressions can be seen in the animals. Since 2003 there has been a change in the artist's style with respect to the human body, in which he simplifies the forms and transforms them into elongated cylinders that for him are "pieces" with a symbolic meaning. Medina and Campeny's works have been exhibited both in Europe and America, where he has several works in museums and important institutions, such as: Museo Nacional de Arte Reina Sofia in Madrid, MACBA in Barcelona, Pagani Foundation in Legnano, Italy, Everson Museum in Syracuse (USA), Jimmy Carter Library & Museum in Atlanta, Georgia (USA), Bears Foundation in New York (USA), North Carolina Museum of Art (USA), among others.

Estim. 4 500 - 4 700 EUR

JACQUES VILLON (Damville, France, 1875- Puteaux, France, 1963). "En Colère, 1952. Original drawing for lithograph on paper. Published in 1959 by Edition d'Art du Lion. Signed and dated in the lower right corner. Size: 45,5 x 33 cm; 75 x 67 cm (frame). Jacques Villon was a French cubist painter actually called Gaston Émile Duchamp. Under the pseudonym "Jacques Villon", he began to produce illustrations in humorous Parisian newspapers, in which he satirised the subject of religion or the army, as well as other fundamental aspects of conventional 19th century morality. Villon exhibited at the Salon des Indépendants in Paris in 1911 and at the first exhibition of the Society of Independent Artists in New York in 1917. He also produced works for the Societé Anonyme exhibition held at the Brooklyn Museum in 1926, which brought together works by Picabia and Marcel Duchamp (his brother) among others. He exhibited his work in various galleries in Europe and the United States, including the Brummer Gallery in New York and the Galerie Louis Carré in Paris and New York.

Estim. 2 500 - 2 800 EUR

MIGUEL MACAYA (Santander,1964). "Bullfighter, 1992. Mixed media on paper. Signed. Size: 58 x 50 cm; 86 x 79 cm (frame). A nationally and internationally recognized painter, Miguel Macaya made his individual debut in 1986 in his native city, with an exhibition held in the Pancho Cossío gallery. Two years later he presented his work in the Cartoon gallery in Barcelona, and in the nineties he began to hold exhibitions in Madrid: Jorge Albero gallery in 1994 and 1997, Nolde in 1996 and 1999, etc. He made the international leap in 1999 with a solo exhibition held at the Arcturus gallery in Paris, and the following year he presented his work at the prestigious Sala Parés in Barcelona, a gallery with which he has collaborated since then. He continues to exhibit regularly as a solo artist in Spain and France, as well as in the Netherlands, Germany and the United Kingdom. He has also participated in fairs such as Antica Namur in Belgium, Strasbourg (both in 2014), Arco in Madrid (2001), Art London in the British capital (2008) and Art Madrid (2011-2015), among others. In parallel, since 1992 he has taken part in important national and international group exhibitions. The first was held by the Delfina Studio Trust in London in 1992, and he has subsequently taken part in other important exhibitions such as those held at the Design Center de la Recoleta in Buenos Aires (1998), the Fundació Vila Casas in Barcelona (1999), the Vieleers gallery in Amsterdam (2003), etc. Macaya's work possesses an intense and dark expressiveness, as well as a Goyaesque vein that is particularly evident in his bullfighting works. In this sense, the critic Enrique Lynch wrote that his painting "points the eye towards the sublime precisely because, without renouncing the light, it directs us towards the dark side of vision: towards what we cannot (or do not want to) see, the unknown background to which his characters turn their backs on us". It is a work, in any case, that plays at mystery, at the game of revealing only part of the chiaroscuro, at suggesting questions to the spectator. Miguel Macaya is currently represented at the Fundació Vila Casas, and has been awarded the First Prize for Young Painting by the Fundació Banc de Sabadell-Sala Parés (2001).

Estim. 400 - 450 EUR

ISMAEL SMITH MARÍ (Barcelona, 1886 - New York, 1972). "Female nudes". Pencil on paper. Signed with stamp in the upper left corner. Presents rust stains. Measurements: 30 x 23 cm; 60 x 49,5 cm (frame). Sculptor, draftsman and engraver, he was one of the first artists considered novecentistas by Eugenio D'Ors. Trained at the La Lonja School in Barcelona and at the Baixas Academy, he was a student of the sculptors Benlliure, Querol, Vallmitjana and Llimona. Awarded a prize in a competition for new artists at the Ateneo Barcelonés in 1903, in 1906 he exhibited at the Sala Parés. He obtained second and third medal in the V International Exhibition of Fine Arts of Barcelona, in 1907, and second medal in the VI, in 1911. In 1910 he travels to Paris on a grant from the City Council of Barcelona. Between 1913 and 1914 he studied at the National School of Decorative Arts in the French capital, and then began a series of trips to England and the United States, holding numerous exhibitions. He settled permanently in New York in 1918, where he collaborated with the Hispanic Society. In 2005 the Palau Foundation dedicated a retrospective to him. The matrices of his engravings are conserved in the Graphic Unit of the Library of Catalonia and in the Calcografía Nacional in Madrid. Many of his prints are also in the British Museum in London, and he is also represented in the Museo Reina Sofía in Madrid, the Museo de Arte Contemporáneo in Barcelona, the MoMA in New York, the Calcografía Nacional in Madrid and the Biblioteca de Cataluña.

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