Null Sebastian Gögel (*1978), studied in Leipzig, master student of Gille, sculp…

Description

Sebastian Gögel (*1978), studied in Leipzig, master student of Gille, sculpture "Transformer", 2005, hard foam painted and varnished, 57 x 45 x 28 cm

3718

Sebastian Gögel (*1978), studied in Leipzig, master student of Gille, sculpture "Transformer", 2005, hard foam painted and varnished, 57 x 45 x 28 cm

Auction is over for this lot. See the results

You may also like

Estim. 48 000 - 60 000 EUR

Torso of an armored statue, 2nd half 2nd century A.D. White, fine crystalline marble. H 71cm. Lower life-size. A semicircular depression has been carved at the base of the neck, which was used to hold an operational head. Both arms are broken at the upper arms, the legs below the hem of the garment. The clothing consists of a short-sleeved tunic and anatomical armor with a Gorgon head on the chest. A ribbed military bandage, a so-called cingulum, is tied around the stomach. The round flaps at the lower edge of the armor are decorated with various motifs, including an elephant's head, a ram's head, a palmette and a helmet. A close parallel in the Antikensammlung Berlin, Inv. Sk 1799: K. Stemmer, Untersuchungen zur Typologie, Chronologie und Ikonographie der Panzerstatuen, 1978, p. 169 no. 76; Arachne ID 1062487. fragmentary. Minor chips and sinter deposits. Provenance: ex Mr. Oscar Tomlinson, London 1962; ex Mr. Clarence Slater, London 1969; ex Mr. Sebastian Davis, London 1977; ex Mr. Georg Förster, London 1987; ex. Mr. Julien Vanhove, Brussels 1995; ex. Mr. Foort Molenaar, Liège 2003; acquired by Mr. Isai Dam, Brussels, 2011.

Estim. 8 000 - 9 000 EUR

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 2005. Mixed media (oil and assemblage) on canvas. Signed and dated. Measurements: 154,5 x 120 x 5 cm. The use of assemblage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings in his last period. He returns to his informalist beginnings, but enriches them by investigating the effects of different procedures on unorthodox supports. The strong contrast between blacks, reds, and whites, curled like unleashed waves, suggest storms and other phenomena in which nature reveals itself in all its fervor. Guinovart abstracted from the observation of nature and reflection on the physical properties of painting a unique visual language. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He soon acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Estim. 4 000 - 5 000 EUR

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1997. Mixed media on táblex. Signed and dated in the lower left corner. Measurements: 50 x 60 cm; 73 x 83 cm (frame). In the nineties, when Guinovart already had a fruitful career behind him, his painting freed itself more than ever from adherence to specific avant-garde movements or styles. In the work shown here, stains and textures skilfully distributed suggest a human face in profile, captured more as absence than presence: as if its spectral nature left an ineffable trace on the material. The latter is treated as a signic palimpsest. Josep Guinovart was trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He immediately acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence, both through the incorporation of various elements and objects (burnt wood, boxes, waste objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Estim. 8 000 - 10 000 EUR

FRANCISCO VIDAL (Lisbon, 1978). "Time Run". 2009 Oil on canvas (diptych). Signed in the lower left corner. Signed and dated on the back. Measurements: 134 x 308 cm; 138 x 312 cm (frame). Based on a still from the cult film "Pulp Fiction" by Tarantino, Francisco Vidal places the gangsters played by John Travolta and Samuel L. Jackson on a strident red background, and replaces one of the guns with a banana. An intense yellow stain spreads out, suggesting an explosion. It is a painting formed by two canvases, which results in an expanded scene impregnated with freshness and carefree. The painter Francisco Vidal lives between Luanda (Angola) and Lisbon (Porturgal). Graduated in Plastic Arts at Escola Superior de Artes e Design das Caldas da Rainha, he took an advanced course in Visual Arts at Escola de Artes Visuais Maumaus, in Lisbon. She lived for some time in the United States, obtaining a Master of Fine Arts degree at the School of Visual Arts at Columbia University, New York. She began exhibiting regularly in 2005. In 2014 he presented the painting project "Utopia Luanda Machine" at 56th Venice Biennale, in the Angolan Pavilion, curated by António Ole, and at Expo Milano, curated by Suzana Sousa. In 2016, the project "ESCOLA DE PAPEL" was presented in Luanda and, in 2017, in São Tomé. and Príncipe. Francisco Vidal's practice highlights ideas around work and international mobility. Recognized for his large pictorial installations, he draws powerful calligraphic lines on silkscreen canvases, in vivid colors and varied chromatic combinations. He also practices a figuration rooted in the language of comics. He has works in national collections, such as those of the EDP Foundation, Calouste Gulbenkian Foundation, Cachola Foundation, and international collections.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]