Null SIGFREDO CHACON Caracas (Venezuela) (1950) "Untitled (diptych)", 1991
Mixed…

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SIGFREDO CHACON Caracas (Venezuela) (1950) "Untitled (diptych)", 1991 Mixed technique on wood On the back signed, dated and located "Caracas"; signed up. "ARCO-92", with labels from the Theo Gallery in Madrid and Luis Perez Galeria, Bogota, Colombia on one of them Measurements: 50 x 50 x 4.5 cm each

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SIGFREDO CHACON Caracas (Venezuela) (1950) "Untitled (diptych)", 1991 Mixed technique on wood On the back signed, dated and located "Caracas"; signed up. "ARCO-92", with labels from the Theo Gallery in Madrid and Luis Perez Galeria, Bogota, Colombia on one of them Measurements: 50 x 50 x 4.5 cm each

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Estim. 20 - 40 EUR

Lot of 14 studies on Balzac: Augustin Cabat, Etude sur l'oeuvre d'Honoré de Balzac. [1888]. Copy with dispatch from the author to Jules Claretie. José-Laure Durrande, Balzac une rhétorique en fleurs. 2006. Fernand Baldensperger, L'appel de la fiction orientale chez Honoré de Balzac. 1927. European studies review, n°1 January 1971 [article "Balzac and social history"]. Adam international review, n°210-211, Sept-Oct 1950 [articles on Balzac]. Société des études romantiques - Balzac, "la femme de trente ans". 1993. P. Barrière, Honoré de Balzac et la tradition littéraire classique. 1928. André Meyer, Les cinq voyages de Balzac en Italie [offprint] with two letters from the author. 1991. Balzac le livre du centenaire. 1952. Pierre Abraham, Balzac et la figure humaine - la couleur des cheveux. 1928. Mercure de France, n°1047, 1950. Contains 7 articles on Balzac. Mary Susan McCarthy, Balzac and his reader. 1982. Revue des sciences humaines, n°175, 1979. Issue devoted to Balzac. Jeannine Guichardet, Balzac Mosaïque. 2007. Set of 3 studies on Balzac: Emmanuel Querouil, Le Père Goriot et le roman d'éducation. 1990. V Grib, Balzac, a marxist analysis. 1937. René Doumic, Etudes sur la littérature française. 1918. Fourth series only containing a section on Balzac. Lot of 11 studies on Balzac: Balzac, écrits sur le roman. Anthologie. 2000. Le Divan, n°291, 1954. Contains an article by Claude Pichois on Balzac. Mercure de France, n°1037, 1950. Contains 4 articles on Balzac. Europe, n°55-56, 1950. Special issue on Balzac. La Nouvelle Revue Française, 1999, n°550. Contains several articles on Balzac. Dr. Friedrich Thiele, H de Balzac als Physiognomiler. 1927. Herbet J Hunt, Balzac and the nineteenth century. 1972. Hava Sussmann, Balzac et les débuts dans la vie. 1978. Catalog of the Balzac exhibition at the Bérès bookshop in 1949. Gretchen R Besser, Balzac's concept of genius. 1969. Marie Claude Amblard, L'oeuvre fantastique de Balzac. 1972. Set of 6 studies on Balzac: Nishio, La signification du Cénacle dans la Comédie humaine de Balzac. 1980. Ferguson, La volonté dans la Comédie humaine de Balzac. 1935 Allemand, Unity and structure of the Balzacian universe. 1965. Mishra, Balzac, Mirror of Emerging Modern Capitalis. 1999. Bardèche, A reading of Balzac. 1964. [Association internationale des études françaises], Hermétisme et poésie, comédie italienne et théâtre français, Honoré de Balzac. March 1963, no. 15.

Estim. 100 - 150 EUR

Raymond RIEC-JESTIN (1905-1991) The Red Mountain, 1950 Oil on canvas signed and dated lower right. On the back, label of Galerie Norval, Paris. 42 x 34 cm

Estim. 300 - 450 EUR

Arie Goral-Sternheim, Abstrakte Komposition black and red colour tones in combination with partly overpainted print and handwritten text, ink, graphite and offset print on light cardboard, around 1990, signed "Goral" in pencil lower left, cardboard slightly browned and wavy and creased due to the technique, matted and framed behind glass, mat cut-out approx. 33.5 x 49.5 cm. Artist information: also Arie Goral, born Walter Lovis Sternheim, German painter and publicist. Painter and publicist (1909 Rheda/Westphalia to 1996 Hamburg), from 1925 commercial apprenticeship in Hamburg, 1933 emigration to France due to Hitler's seizure of power, 1934 relocation to Palestine, in Jerusalem contact with Else Laske-Schüler and Arnold Zweig, participation in the War of Independence, 1950-53 study visit to Italy, from 1951 resumed German citizenship, returned to Hamburg in 1953, also active as a writer from 1956 and fierce critic of the ritualised philo-Semitism of the Adenauer era, awarded the Biermann-Ratjen Medal in 1982, protest actions against the US intervention in Iraq in 1991, his journalistic legacy can be found at the Hamburg Institute for Social Research, source: Wikipedia.

Estim. 9 000 - 10 000 EUR

"LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971). Untitled, 1956. Mixed media on canvas. Signed and dated on the back. Provenance: Gallery of the Missions, Montevideo. Measurements: 40 x 56 cm; 45 x 54 cm (frame). In this work we can appreciate the influence of Geometric Abstraction and kineticism of the European avant-garde, treated from a perspective where the minimal elements are articulated in a dynamic dialogue, in which circles, inclined triangles and diagonal bands function as a demiurgic alphabet. The tension between harmony and imbalance, the stable and the mobile is sought. Loló Soldevilla is considered one of the most relevant figures of Geometric Abstraction and Kineticism, both for her achievements during her career and for her efforts to promote Cuban art inside and outside the borders of her country. He always showed a political involvement through his art, both in his country and abroad, taking an active part in the campaigns to help the Spanish Republic after the outbreak of the Civil War. His artistic career always stood out for experimentation, not only stylistically but also technically, creating works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Grande Chaumière Academy, making frequent trips and exhibitions in Cuba to show his work. In 1951 she entered the workshop of Dewasne and Pillet, where she remained for two years, and attended a course on engraving techniques by Hayter and Cochet, maintaining and promoting creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as editor and during the 1960-61 academic year she established herself as professor of plastic arts at the School of Architecture of the University of Havana. From that moment on Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the Granma newspaper. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the Diez Pintores Concretos group; she was a member of the UPEC and the UNEAC and collaborated in Bohemia. During his life his work was exhibited in relevant artistic spaces such as the Palace of Fine Arts of Cuba, in Caracas (Venezuela), Paris, in Valencia, Valladolid (Spain), Czechoslovakia, etc, achieving a great recognition of his work at a global level. Today his work is preserved in numerous private collections around the world and in institutions such as the National Museum of Fine Arts of Cuba (where the main collection is kept).

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