Null Tableau aborigène
FIRE DREAMING, Adam Reid 2014
Contemporary Aboriginal pai…

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Tableau aborigène FIRE DREAMING, Adam Reid 2014 Contemporary Aboriginal painting Acrylic on Canvas Certificate 109x88cm

164

Tableau aborigène FIRE DREAMING, Adam Reid 2014 Contemporary Aboriginal painting Acrylic on Canvas Certificate 109x88cm

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Estim. 14 000 - 15 000 EUR

Spanish school of the last third of the eighteenth century. "Our Lady of the Annunciation". Oil on canvas. Presents restoration. The frame is damaged. Measurements: 35.5 x 29 cm; 43.5 x 37 cm (frame). At formal and compositional level this work follows the trail of the great painter Antonio Rafael Mengs, whose artistic style influenced many painters of the time and later. In this painting we see a Virgin of the Annunciation leaning before a table on which rests an open book, with her head lowered as a sign of humility and her hands crossed on her chest, indicating her submissive acceptance of the divine message. The figure is placed in the foreground, before a neutral and dark background, somewhat more illuminated behind the head, following a composition that is at the same time typical of contemporary portraiture and devotional painting, which brings the image even closer to the viewer, seeking to move the soul of the faithful who prays before the image.

Estim. 4 000 - 5 000 EUR

Neapolitan school of the 17th century. Following models by JOSÉ DE RIBERA (Játiva, 1591-Naples,1652) . "The View". Oil on canvas. Re-coloured in the 19th century. It presents repainting. Measurements: 110,5 x 88,5 cm; 126,5 x 104 cm (frame). In the Neapolitan school, the influence of José Ribera was remarkable. His vehement and vigorous naturalism, filtered by Flemish influences, beats strongly in the Neapolitan painting contemporary to the Sevillian painter. Here we have a clear example of this influence. The author has faithfully reproduced the painting "The View" which Ribera painted during his stay in Rome (now in the Franz Mayer Museum). It was part of a series on the five senses. In this version, the dual ancestry of Ribera and Caravaggio can be seen in the violent, tenebrist light that bursts through in a slanting manner. It should also be noted that Ribera moved away from the iconographic complexity of the visions of the Five Senses produced in the Low Countries, along the lines of Brueghel. The Valencian artist, who takes up the present version, focuses on a character taken from everyday life. The man holds a spyglass in his hands that allows him to contemplate the universe through the window. Glasses and a mirror complete the representation of sight. The figure is placed in an interior and receives the strong impact of the light on his head and hands, his body being chiselled in each and every detail. The dark tones are used to focus the viewer's attention on the face, which is charged with emotional intensity.

Estim. 3 000 - 3 500 EUR

GEORGES ROUSSE (Paris, 1947). Untitled. Barcelona, 2003. Photographic paper, copy 12/30. Signed, numbered, traced and dated by hand. Exhibited at the Carles Taché gallery, Barcelona, 2003. Size: 52 x 41 cm; 75 x 63 cm (frame). Since the early 1980s, Georges Rousse's work has been characterised by the relationships he has established between photography, painting, sculpture and architecture. The photographic language, however, is the backbone of the others, dialoguing with them and playing with spatial effects. This was seen in the exhibition held at the Carles Taché gallery in Barcelona, of which this work was part. Ever since he received a Kodak Brownie Flash as a Christmas present when he was 9 years old, the camera has never left Georges Rousse's hands. While studying medicine in Nice, he decided to learn the techniques of photography and printing from a professional, and then set up his own architectural photography studio. Increasingly, his passion led him to devote himself entirely to the artistic practice of this medium, following in the footsteps of the great American masters Edward Steichen, Alfred Stieglitz and Ansel Adams. It was with the discovery of the works of Land art and Kasimir Malevitch's Black Square on a White Background that Georges Rousse chose to intervene in the field of photography, establishing a relationship between painting and space. He appropriates abandoned places that he has always liked, transforms them into pictorial spaces and builds there a unique and ephemeral work that only photography can reproduce. In order to allow the spectator to share his experience of Space, he has been presenting his images in large format prints since the early 1980s. This strong and singular work, which shifts the boundaries between traditional media, immediately imposed itself on the contemporary art scene. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, Asia (Japan, Korea, China, Nepal), the United States, Quebec and Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Salon de Montrouge Drawing Award 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

Estim. 20 000 - 25 000 EUR

FRANCIS BACON (Dublin, 1909- Madrid, 1992). "Three studies for a self-portrait". Lithograph on Arches paper, E.A. copy. Signed and justified by hand. Work acquired at the Coskun Gallery in London in 2008. Size: 52 x 94 cm; 79 x 121 cm (frame). Francis Bacon is the author of some of the most striking and unprecedented paintings in contemporary art. His style, obsessive, tormented and heartbreaking, is a clear document of the hardship experienced in Europe after the Second World War. His works are currently fetching stratospheric sums at international auctions, making him one of the most sought-after artists on the art market today. A reflection of this is the triptych "Three Studies by Lucian Freud (1969)", which in 2013 reached a record sale price of 142 million dollars at public auction, making it one of the three most expensive works in history. Some of his works can be seen in the world's most important art galleries, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía. "Three Studies for a Self-Portrait" emphatically defines what Bacon's art was all about. Decomposed, isolated, disturbing and spiritual figures that, far from seeking a specific resemblance to the person depicted, delve into the spirituality of the sitter. Here we see the abstraction, fragmentation and distortion of the painter's face, a key aspect in Bacon's artistic development, a consequence of the life events that made his existence a fervent time bomb about to explode. Through his work he expresses his vital condition, which is also linked to his self-destructive side, thus managing to express loneliness, violence and degradation. Born in Dublin, although of English parents, Francis Bacon began painting as a self-taught artist. When he was only 17, in 1927, the Paul Rosemberg gallery opened its doors to the painter. There he became acquainted with the work of Pablo Picasso, an artist he would admire throughout his career. Like Picasso, other painters made an impression on Bacon's work: Velázquez (whose version of Pope Innocent X he painted, producing at least 40 "popes") and Nicolas Poussin, whose "The Massacre of the Innocents", now in the Musée Condé, aroused intense emotion in him. In 1945 he exhibited in London, together with the English artists Henry Moore and Graham Sutherland, his painting Three Studies for Figures at the Foot of a Crucifixion (c. 1944), a triptych which, according to Bacon himself, marked the starting point of his career. By 1945 Bacon had developed his own unmistakable style. In 1949 the Museum of Modern Art in New York (MOMA) bought an impressive work by Bacon entitled Painting 1946. In 1956 he was invited to represent Britain at the Venice Biennale alongside Ben Nicholson and Lucian Freud. With his work, Bacon decided that the subject of his paintings would be both life in death and death in life. He sought to express his vital condition, which was also linked to his self-destructive side. Michel Leiris suggested to him that masochism, sadism and similar manifestations were really just ways of feeling more human. Portraits and self-portraits constitute an important part of Bacon's paintings, among them George Dyer in a Mirror of 1968, a work in which the painter suggests the vulnerability and fragility of the self. Bacon made portraits without poses taken from life, developed from photographs. He portrayed his intimate companions and friends as well as famous people: Peter Lacy, George Dyer and John Edwards, Henrietta Moraes, Isabel Rawsthorne, Muriel Belcher, Lucian Freud, Peter Beard and Michel Leiris, as well as Hitler, Pius XII and Mick Jagger. Some of his works can be seen in the most important art galleries in the world, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Muse

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