Null Miguel Angel Duarte genannt ENZO (*1963), 'Abstraktion in Rot' / 'Abstracti…

Description

Miguel Angel Duarte genannt ENZO (*1963), 'Abstraktion in Rot' / 'Abstraction in red' Technique: mixed media on paper, Signature: monogrammed lower left, inscribed on the reverse, Dimensions: 26 x 35.5 cm, Condition: good

432686

Miguel Angel Duarte genannt ENZO (*1963), 'Abstraktion in Rot' / 'Abstraction in red' Technique: mixed media on paper, Signature: monogrammed lower left, inscribed on the reverse, Dimensions: 26 x 35.5 cm, Condition: good

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Estim. 150 - 250 EUR

Olympic Games/ Summer-Winter, 1980-84-88/ Moscow, Sarajevo, Los Angeles, Seoul/ Bids/ IOC-Coubertin. Exceptional set of a good Fifty commemorative, and decorative, official coins:a) Moscow, 1980, set of 19 pins-brochettes-badges (indisputably Soviet manufacture), with two Yugoslav pins (in their case, gold and silver); b)Sarajevo, 1984, Coca-Cola key-ring (silver), metal badge (with Vucko); c) Los Angeles, 1984, three plastic key-rings (Uncle Sam tennis player, rower), and in prestige case 4 new pins; c) Seoul, 1988, Splendid suspension, "à l'asiatique", Games of the XXIVth Olympiad Seoul 1988", spectacular, new, in its case, box scratched the 3 official pins (two logos diff, and Hodori, new; box with shell logo, plus three individual pins, two in original pouch; d) bids, metal badges for Cortina 1988, Berchtesgaden 1992 (2), Amsterdam 1992 (GF), for Paris 1992 superb tie pin with Eiffel Tower; e) IOC-Coubertin, two plastic key-rings (rings), one gilded metal (Olympic motto), one rectangular enamelled skewer (the rings, 2ex), and a pinch of gold vignettes with torch and rings, "1863-1963" Centenary of Baron de Coubertin, renovator of the Olympic Games of the Modern Era".

Estim. 8 000 - 8 500 EUR

LEWIS MORLEY (Hong Kong, 1925-Sidney, 2013). "Christine Keeler," 1963. Gelatin silver. Signed, titled and dated in ink (in the margin). Provenance: Bennett Private Collection, New York. Measurements: 31.5 x 25 cm (image); 36 x 28.9 cm (paper). After cabaret performer and dancer Christine Keeler had an affair with a minister in Harold Macmillan's government, which brought the Conservative Party into disrepute in what became known as the Profumo affair, she was called to do a photo shoot at Lewis Morley's studio. The events took place because a film production company intended to make a movie about the scandal and needed some publicity photographs. Although Keeler had initially agreed to be photographed nude, when she arrived at the studio she was reluctant to do so. For this reason, Lewis Morley began the photo shoot by capturing the model with her clothes on, but the film company's representatives insisted that she pose nude. The photographer, sensing Keeler's discomfort, had the others present leave and, turning his back to her while Keeler undressed, suggested that she pose on the studio chair placed upside down. Lewis Morley began his career with assignments for magazines such as Tatler and was a successful theater photographer for over 100 West End productions. His publicity photographs for Beyond The Fringe magazine (1961) included a study of the cast Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller, which was used for the cover of the show's best-selling LP. In 1971 he moved to Sydney, where he worked on magazines such as Belle and with interior designers and stylists such as Babette Hayes and Charmaine Solomon. In 1989 he collaborated with photography curator Terence Pepper in staging his first museum retrospective at the National Portrait Gallery in London and subsequently donated all the images printed for the exhibition as part of a larger archive of his work. His first autobiography, Black and White Lies, was published in 1992. In 2003, a film about his life was released and an exhibition entitled Myself and Eye was held at the National Portrait Gallery in Canberra. In 2006, the Art Gallery of New South Wales presented a comprehensive exhibition showcasing 50 years of his work. Entitled Lewis Morley: 50 Years of Photography, the exhibition included 150 of his works spanning fashion, theater and reportage, many of which had never been seen before. After his death his archive was subsequently donated to the National Media Museum in Bradford, England.

Miguel Angel Santaeulalia for LLadro' - Leda and the swan H 28x38 cm In stoneware porcelain. Mark at baseIn porcelain stoneware. Mark at base.

CANOGAR, RAFAEL (1934) Construction in glass, oil, collage of photography and paraffin on board Dated and signed lower area. right: "02 / Canogar"; inscription lower left area: "'ARMA'" Cat. 2002-046. Reproduced on the artist's website www.rafaelcanogar.com. PROVENANCE - Artist's collection, Madrid [2002, 2003, 2006]. - Private collection, Barcelona EXHIBITIONS - 2002. Rafael Canogar. Recent work. Granada, La General Cultural Center, Carmen of the Rodríguez-Acosta Foundation, June 6-July 14. - 2002. Rafael Canogar ontem e leaf. Porto (Portugal), Sala Maior, September 28-October 23 - 2003. Rafael Canogar. Reality and memory. 1992-2003. Madrid, Pablo Ruiz Picasso Gallery [Circle of Fine Arts], March 25-April 27 - 2003. Meetings of plastic artists from Castilla-La Mancha. Toledo, Santa Cruz Museum, July-September - 2003-04. Canogar. Warsaw, Palac w Królikarni, June 27-July 27, 2003 // Buenos Aires, National Museum of Fine Arts, November 12-December 11, 2003 // Monterrey, Mexico, Pinacoteca Centro de las Artes La Fundidora, February 19-April 4, 2004 / / / Mexico City, Antiguo Colegio San Ildefonso, April 22-June 20, 2004 // Montevideo, National Museum of Visual Arts, October 14-November 19, 2004 - 2004. Canogar. "Reality and Memory". Lisbon, Galeria António Prates Arte Contemporanea / Cascais (Portugal), Fundação D. Luís I Centro Cultural de Cascais, January 23-February 22 - 2004. Rafael Canogar. Madrid, Metta Gallery, December - 2006. Fragmentations. In Artesevilla 06, Contemporary Art Fair. Seville, Palace of Exhibitions and Congresses, January 19-23 (Special room on the occasion of the awarding of the Gold Medal of the Seville Contemporary Art Fair). - 2006. Canogar step by step. Vigo (Pontevedra), Caixanova Cultural Center / Caixanova Social Center, February 24-March 26 - 2006. Canogar. Destruction - Construction. Gijón (Asturias), Van Dyck Art Gallery, November 24-December 30 - 2007. Rafael Canogar. Barcelona, Barcelona Gallery, February 8-March 31 BIBLIOGRAPHY BIBLIOGRAPHY - BARNATÁN, Marcos-Ricardo: "Canogar from the dark to the light." In MARTÍN DE ARGILA, María Luisa and BARNATÁN, Marcos-Ricardo: Rafael Canogar. Reality and memory. 1992-2003. Madrid, Círculo de Bellas Artes, 2003 (Cit. page 16) [cat. exp.]. - CALVO SERRALLER, Francisco: Rafael Canogar. Recent work. Granada, Caja de Granada, Obra Social / Cruz Campo Foundation / Rodriguez-Acosta Foundation, 2002 (Repr. color s/page; cit. page 82, no. 28, with mixed technique on glass) [cat. exp.] - CALVO SERRALLER, Francisco: "Lo Última de Rafael Canogar" = "The latest from Rafael Canogar". In BONET [PLANES], Juan Manuel, MARTÍN DE ARGILA, María Luisa, CANOGAR, Rafael, CRISPOLTI, Enrico, AGUILERA CERNI, Vicente, NIETO ALCAIDE, Víctor and CALVO SERRALLER, Francisco: Canogar. Madrid, State Society for Foreign Cultural Action, SEACEX, 2003 (Repr. color page 109, with mixed technique on glass) [cat. exp.] - CANOGAR, Rafael: Canogar step by step. Vigo, Caixanova, 2006 (Color reproduction page 77, with mixed technique with crystals) [cat. exp.] - CANOGAR, Rafael: "Fragmentations". In Artesevilla 06, Contemporary Art Fair. Seville, Artesevilla, Contemporary Art Fair, 2006 (Color reproduction page 179, with mixed technique with crystals) [cat. exp.] - DELGADO BEDMAR, José Domingo and CORREDOR-MATHEOS, José: Encounters of plastic artists from Castilla-La Mancha. [Toledo], Foundation of Culture and Sports of Castilla-La Mancha, 2003 (Repr. color page 57, with mixed technique on glass; and dimensions 68 x 49 cm) [cat. exp.] - GEA, JC: "Canogar prepares its 'debut' in Asturias." The New Spain of Gijón (Gijón, Asturias), year LXX, no. 22,943, October 29, 2006, Gijón (Repr. color and cit. page 15, with mixed technique with crystals). - GARCÍA BERRIO, Antonio: " Rafael Canogar: constancy of the antithesis." Magazine of the West (Madrid), no. 347, April 2010 (Cit. page 109). - MARTÍN DE ARGILA, María Luisa and BARNATÁN, Marcos-Ricardo: Rafael Canogar. Reality and memory. 1992-2003. Madrid, Círculo de Bellas Artes, 2003 (Color reproduction page 73, with mixed technique on glass) [cat. exp.] - MOLINA, Margot: "'Arte Sevilla chooses its artists." El País (Seville), January 20, 2006, Andalusia (Repr. bl. and n. page 16). - MUÑOZ, Miguel Ángel: "Rafael Canogar: the passion for building spaces." In MUÑOZ, Miguel Ángel: Rafael Canogar. Madrid, Metta Gallery, 2004 (Cit. page 9) [cat. exp.]. - MUÑOZ, Miguel Ángel: "Rafael Canogar: the passion of building spaces". In MUÑOZ, Miguel Ángel: Canogar. Palma de Mallorca, Pelaires Center Cultural Contemporani, 2005 (Cit. page 10) [cat. exp.]. - MUÑOZ, Miguel Ángel: Convergence and setback. A look at contemporary art. Mexico DF, Conaculta / Fonca / Plan C Editores, 2008, La Mosca Muerta Collection, no. 20 (Cit. page 111) - MUÑOZ, Miguel Ángel: "Rafael Canogar: constant change." In MUÑOZ, Miguel Ángel: Rafael Canogar. Madrid, Álvaro Alcázar Gallery, 2009 (Cit. page 9) [cat.

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