Null Titouan LAMAZOU (born 1955).
Tarapt welet Al Mousser - 2013.
Niger.
Acrylic…

Description

Titouan LAMAZOU (born 1955). Tarapt welet Al Mousser - 2013. Niger. Acrylic and sand on paper. Dimensions: 56x43 cm.

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Titouan LAMAZOU (born 1955). Tarapt welet Al Mousser - 2013. Niger. Acrylic and sand on paper. Dimensions: 56x43 cm.

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Estim. 4 000 - 5 000 EUR

Jean Prouvé (1901-1984) Banquette lit de repos, model Scal n°450 circa 1955 Black-lacquered metal frame resting on four cylindrical legs, thermoformed foam mattress upholstered in black fabric and topped by a cylindrical bolster H. 36 cm W. 81 cm D. 190 cm Bibliography: > Peter Sulzer, Jean Prouvé, Œuvre complète/ Complete Works, volume 3: 1944-1954, Birkhauser, 2005, p. 166 > Galerie Patrick Seguin Paris & Sonnanbend, Jean Prouvé, Gallery New York, p. 355 Architect, engineer, builder and designer, Jean Prouvé is an emblematic figure of twentieth-century Modernism. He started out as a wrought-iron worker, and always retained his love of working with metal. Taking part in the Union des Artistes Modernes alongside Charlotte Perriand, Robert Mallet-Stevens, Le Corbusier and René Herbst, Prouvé contributed to the "dusting off" of the Decorative Arts. His guiding principle was the constructive principle: "There is no difference between building a house and building a piece of furniture". His designs are functional, practical and elegant. (MLD)

Estim. 4 000 - 5 000 EUR

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1977. Oil and collage on uralite. Signed and dated on the lower left. Measurements: 105 x 114 x 9 cm. Josep Guinovart was a born experimenter with forms, textures, supports and languages. This is evident in this composition in which the play of waves in the material is used by the artist to emphasise the effect of collage and fragmentary figures (a head, the wounded body of a bull...) The forms seem to compose and decompose themselves between blinks of an eye, in an orchestrated composition that appeals to the surrounding space. Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to 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, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, clay, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). Guinovart's artistic output is very varied: mural paintings, theatre sets and scenographies, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He took part in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona in 1981, the National Plastic Arts Prize in 1990 and the Generalitat's Plastic Arts Prize in 1990. In 1994 the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Open Air 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. 1 500 - 1 800 EUR

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984). "Eyes, circles, owls", 1970-1976. Mixed media on paper. Measurements: 21 x 13,5 cm; 37 x 29 cm (frame). Drawing conceived for the book "Eyes, circles, owls", by Luis Goytisolo. The head of the drawing appears published in Goytisolo's 1970 book. According to the annotations on the drawing, it was begun in Cadaqués and finished in Colliure in 1976. Painter and draftsman, he was trained in Barcelona, in the workshop of Ramon Rogent and at the Academy of Plastic Arts with Angel Lopez-Obrero. After dedicating himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Art Gallery of Bilbao, which was to be his definitive consolidation within the national artistic panorama. In 1948 he founded, together with Tharrats, Puig, Cuixart, Tàpies and Brossa among others, the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he participated in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and was able to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, with such success that the organization acquired all of the works. In Brazil he visited the equatorial jungles, where he was impressed by the fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to an illness, as a fully consecrated artist, he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and several Spanish cities. In 1965 he won the International Drawing Grand Prize at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are at the same time painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, a spell, something supernatural.

Estim. 3 000 - 4 000 EUR

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984). "Suite Caps. Brazil,1958-1959 Pencil and ink on paper Signed, dated and located in the lower left corner. Work referenced in the online catalog raisonné no. 3380 With label on the back of the gallery Dau al Set. Measurements: 70 x 50,5 cm, 87 x 67 cm (frame). Ponç made the series "Caps" in his Brazilian stage, country to which he took refuge to flee from Franco's regime. The drawings of the Suite are fragments of more or less dreamlike physiognomies (sometimes accompanied by birds), always endowed with a poetic aura. Painter and draftsman, he trained in Barcelona, in the workshop of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After dedicating himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Art Gallery of Bilbao, which was to be his definitive consolidation within the national artistic panorama. In 1948 he founded, together with Tharrats, Puig, Cuixart, Tàpies and Brossa among others, the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he participated in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and was able to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, with such success that the organization acquired all of the works. In Brazil he visited the equatorial jungles, where he was impressed by the fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to an illness, as a fully consecrated artist, he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and several Spanish cities. In 1965 he won the International Drawing Grand Prize at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are at the same time painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, a spell, something supernatural.

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