Null BLAS AMETLLER Barcelona (1768) / (1841) RAFAEL ESTEVE VILELLA Valencia (177…

Description

BLAS AMETLLER Barcelona (1768) / (1841) RAFAEL ESTEVE VILELLA Valencia (1772)/(1847) "Perspectives of the funeral triumph car" Pair of engravings According to the work of Jose Rivelles, in honor of Luis Daoiz and Pedro Velarde, artillery captains fallen on May 2, 1808. They have stains and deterioration on the paper. Measurements: 56 x 75 cm each

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BLAS AMETLLER Barcelona (1768) / (1841) RAFAEL ESTEVE VILELLA Valencia (1772)/(1847) "Perspectives of the funeral triumph car" Pair of engravings According to the work of Jose Rivelles, in honor of Luis Daoiz and Pedro Velarde, artillery captains fallen on May 2, 1808. They have stains and deterioration on the paper. Measurements: 56 x 75 cm each

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Estim. 2 200 - 2 500 EUR

ARMANDO CARDONA TORRANDELL (Barcelona, 1928 - Sant Pere de Ribes, Barcelona, 1995). Untitled, 1957. Acrylic on board. Signed and dated on the back. Measurements: 38x 46 cm; 43 x 51 cm (frame). Cardona Torrandell began his training in the humanities, to later delve into painting. His work, plastic testimony of the current world, is characterized by variegated compositions, full of human faces, calligraphic elements and inscriptions, which define his personal iconography. He organized his work in cycles: "Retablos de la gente" (1956), "Barcas" (1956), "Máquinas" (1957), "Paisajes Concretos" (1960), "Universo concentracional" (1965), "Numancia" (1972), "Naufragios" (1979), etc. He also dedicated some tribute works to Sartre, Antonio Machado, Ungaretti and Lluís Companys. In 1965 he did the scenography for "Ronda de muerte a Sinera", by Espriu-Salvat, and the following year for "La buena persona de Sezuan", by Brecth. He also collaborated with the Sitges Theater Festival. He was associated with the Parpalló Group, and was part of Crónica de la Realidad and Intrarealismo. In 1971 he was awarded the Ynglada-Guillot drawing prize. Cardona Torrandell is currently represented in the Victor Balaguer Museum in Vilanova i la Geltrú, the Vila Casas Foundation, the Rafael Zabaleta Museum and other public and private collections.

Estim. 3 000 - 3 500 EUR

MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). Untitled, 1971. Mixed media on paper. Signed, located and dated in the lower left corner. Measurements: 35 x 50 cm; 38 x 53 cm (frame). Magda Bolumar entered in 1948 in the studio of the painter Rafael Estrany, disciple of James Ensor, later studying at the School of Arts and Crafts of Mataró. In 1954 she contacted some members of the group Dau al Set and the sculptor Moisés Villelia, one of the architects of the group Arte Actual, whom she married, initiating a joint investigation on the primary materials in art. Magda Bolumar was especially known for the Xarpelleres, which she exhibited for the first time in Barcelona in 1960. In the Xarpelleres, matter and texture have a special importance, which connects these works with Informalism. However, Magda Bolumar's works have an essentially constructivist sense, since the structure acquires in them the main protagonism from the tension of the threads with which they are made. Cirici Pellicer wrote that, unlike the works of informalist artists such as Burri or Millares, as opposed to dramatism or denunciation, "in Magda Bolumar's work, the textile serves for the construction of a new cosmos, it manifests the need to "reorder" the world through the weft of the threads".1 Mª Luisa Borrás wrote that "the magnificent "xarpelleres" of this artist manifest an overwhelming liberation of forces, cerebral in their majority, that end in tensions of warp in weft, starry or parallelisms revealing an intellectual liberation, of ingenuity and constructive rigor". Neither does the artist see her work within Informalism, but the need to turn artists into followers of the great male names, considered by canonical history as the only valid ones, has forced the meaning of the matter-avant-garde relationship, making it necessarily go through a reading from Informalism at that moment of Spanish art". With the embroidery of her "xarpelleres", Magda Bolumar seeks to approach life poetically, as Joan Brossa said in a text dedicated to one of the artist's paintings, in which he emphasized the lyrical sense of these textile structures: "El marc/ fa de tambor/per a bordar el sac" (Brossa, 1965).

Estim. 1 500 - 1 600 EUR

EDUARDO ARRANZ BRAVO (Barcelona, 1941-2023). "Gritio", Suite Pamplona, Margodí, 1975. Oil on canvas. Signed and dated in the lower right corner. Signed, dated, titled and located on the back. Measurements: 50 x 50 cm; 53 x 53 cm (frame). Trained in Barcelona, Paris, Madrid and Italy, Arranz made his individual debut at the University Club of Barcelona in 1961. In 1967 he abandons the lyricism of his first period and approaches the New Figuration. In the seventies he formed an artistic partnership with Rafael Lozano Bartolozzi, with whom he would carry out artistic projects that would mark the history of Spanish contemporary art for more than a decade. She has exhibited all over the world, and among her awards are the Grand Prize and Gold Medal at the International Biennial of Ibiza (1964), the Prize of the II Biennial of Sport (1964), the Figure Award of the Biennial Estrada Saladich (1967) and the Drawing Award Ynglada Guillot (1968). His work is present in the MoMA of New York, the Museum of São Paulo, the Museum of Contemporary Art of Madrid and the Museum of Fine Arts of Vitoria and Seville.

Estim. 2 500 - 3 000 EUR

Equipo Crónica (Valencia, 1964 - 1981). "Nude descending the stairs", 1971. Silkscreen on paper, H.C. copy. Signed and justified. Publisher Gustavo Gili, Barcelona. Measurements: 100 x 70 cm. To the mythical "Nude descending the stairs" by Duchamp, Equipo Crónica places a band on the chest where its colors show the Spanish flag. In addition, they dispense with the original background and introduce their own context showing a palatial interior. Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their style involved a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

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