Null LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000).

"The snake ch…

Description

LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000). "The snake charmer, 1986. Oil on canvas. Signed and dated in the upper left corner. Measurements: 160 x 200 cm. Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in its beginnings, which will gradually disappear until it becomes a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

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LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000). "The snake charmer, 1986. Oil on canvas. Signed and dated in the upper left corner. Measurements: 160 x 200 cm. Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in its beginnings, which will gradually disappear until it becomes a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

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Estim. 9 000 - 11 000 EUR

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Sofa-bed "Barcelona", design 1929 (Universal Exposition of Barcelona). Chromed stainless steel and Cognac leather upholstery. African ramin wood frame. Leather-covered cushion sewn with buttons and chains. Includes matching neck pillow. Certified by Knoll International. Original packaging. Brand new. Reproduced and reviewed in "Charlotte & Peter Fiell. 1000 Chairs", p. 133. Measurements: 41 x 195 x 95 cm. 226x103 cm. (packing). The Barcelona sofa bed is a classic work of 20th century industrial design. Mies van der Rohe created it, along with the matching chair and side table, for the German pavilion at the 1929 Barcelona International Exposition, a building that was itself a landmark in the architecture of the last century. Like the chairs, the ottoman was made with a polished stainless steel frame and leather upholstery. Rohe based its creation, in his personal line of modern classicism, on furniture used by Roman magistrates in antiquity. Today, both the Barcelona chair and the matching ottoman and side table are still produced by Knoll, the firm that bought the license from the architect in 1953. Modern models are produced in two different steel configurations, and in various types of leather in different colors. Examples of the Barcelona chair are now held in important collections around the world, including the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany soon after forced him to emigrate to the United States. There he continued his brilliant career, teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings mainly in Germany and the United States, especially his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Estim. 6 000 - 7 000 EUR

LUDWIG MIES VAN DER ROHE (Germany, 1886 - USA, 1969) for KNOLL. Chair "Barcelona". Chrome-plated steel frame, loose comfort cushions upholstered in black leather sewn with buttons. Lower upholstery with black leather straps. With certificate and Knoll stamp. Literature: C. & P. Fiell. 1000 chairs. Mentioned and photographed on p. 172. Apparently unused. With original packaging. Brand new. Measurements: 80 x 75 x 70 cm. Packaging dimensions: 84 x 89 x 84 cm. The Barcelona chair (model MR90) is a classic of 20th century industrial design. Mies van der Rohe created it, together with the ottoman and the matching side table, for the German pavilion at the 1929 Barcelona International Exposition, a building which was also a landmark in the architecture of the last century. The chairs were so admired that they were used as thrones for the King and Queen of Spain when they visited the Barcelona pavilion. They were seats with a structure made entirely of polished stainless steel, with the seat and backrest entirely covered in pigskin upholstery. Later, in 1950, some adjustments were made to the design for mass production. Van der Rohe based his creation, in his personal brand of modern classicism, on the "sella curulis", a type of seat used by Roman magistrates in antiquity. On the other hand, the visible joining of the frame and seat cushions as separate components, and the combined use of traditional and modern materials, appropriately matched to their function, eloquently reveal Mies' personal vision of international style. Today, both the Barcelona chair and the matching ottoman and side table are still produced by Knoll, the firm that bought the licence from the architect in 1953. The modern models are produced in two different steel configurations, and in various types of leather in different colours. Examples of the Barcelona chair can be found in important collections around the world, such as the MoMA in New York. An architect and industrial designer, Mies van der Rohe trained with Bruno Paul and Peter Behrens, and opened his own studio in Berlin in 1912. Between 1930 and 1933 he directed the Bauhaus in Dessau, although the political situation in Germany forced him to emigrate to the United States shortly afterwards. There he continued his brilliant career, while at the same time teaching at the Illinois Technology Institute in Chicago. During his career he designed emblematic buildings, mainly in Germany and the United States, particularly his skyscrapers in New York and Chicago, the German Pavilion for the 1929 Barcelona International Exposition, and the NeueNationalgalerie in Berlin.

Estim. 1 400 - 1 600 EUR

JORDI VILANOVA (Barcelona, 1925-1998). Suspension lamp "Anella" Series, 1967. Polished brass and parchment lampshade. Measurements: 68 x 44 x 44 cm. Suspension lamp of the Anella series designed and produced by Jordi Vilanova in 1967. A paradigmatic example of the conjunction that Vilanova carried out between traditional techniques and new materials of industrial type. Polished brass structure and parchment shade. Vilanova defended the functionality, simplicity and purity of lines. He could be described as a modern classic, as is evident in this lamp. Catalan interior designer and cabinetmaker, Jordi Vilanova entered the School of Work and Artistic Trades of La Lonja in 1939. He completed his training in the workshop of Busquets, and between 1940 and 1953 he collaborated in the studio of Lluís Gili. Jordi Vilanova was founder and promoter of the Catalan art magazine "Questions d'Art" (1967-74). In 1974 he opened premises with a permanent exhibition of furniture and upholstery of his own design, forming part of the Official College of Interior Decorators and Designers of Barcelona and the SAD. His modern furniture and his way of resolving spaces were initially aimed at a large public of limited economic resources and, consequently, homes with less living space. However, this great majority did not understand his proposal. Instead, it was the Catalan bourgeoisie, eager to break with outdated stylistic canons, who embraced his work. His specialty was furniture for children, such as the Delta stool, which won the Delta de Plata Prize awarded by the ADI/FAD in 1964. He held exhibitions of his work in Scandinavia. Among his most representative designs are the Tiracord and Billar chairs (1961), the Montseny MP bunk bed (1961), the Tartera (1966) and Petit (1978) rocking chairs and the Z magazine rack (1987) designed together with his son Pau Vilanova Vila-Abadal. It is currently represented in the Design Museum of Barcelona.

Estim. 4 000 - 5 000 EUR

LLUÍS LLEÓ (Barcelona, 1961). "Morpho's dream", New York, 2017. Mixed media on paper. Signed and dated in the lower margin. Measurements: 100 x 80 cm; 115 x 91 cm (frame). Lluís Lleó lives and works, currently between the intensely cosmopolitan city of New York and the small village of Rupiá, in Baix Empordà. His work, of an eminently abstract character, presents important links with conceptualism and European informalism, as can be seen in the piece we now present, where the title, the written word, is an integral part of the work, which is characterized, on the other hand, by its gestural, material character, and by its chromatic containment. Lluís Lleó began his exhibition career in 1988, and has participated in numerous solo and group exhibitions of international scope. He has also participated in some of the most important art fairs on the international scene. His work is held in museums and collections such as the Museo Nacional de Arte Reina Sofia, the Perez Art Museum Miami, the collection of the Fundació La Caixa, the Collection Fank for International Settlements in Basel, the Maison Particuliere in Brussels, the World Trade Center in Barcelona, the Fundació Godia in Barcelona and the Nagoya Art Museum in Japan.

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