CHRONICLE TEAM
Rafael Solbes and Manolo Valdés, 1964-1981

Solana in Paris …

Description

CHRONICLE TEAM Rafael Solbes and Manolo Valdés, 1964-1981 Solana in Paris (Series A place, a date, An image). 1976 Silkscreen on Arches paper Signed in pencil and dated 1976 Numbered 5/75 Measurements 102 x 73 cm Edited by Val i 30 Gallery, Valencia 1976 ORIGIN (label on the back) Juana Mordó Gallery, Madrid Helga de Alvear Gallery, Madrid Private collection BIBLIOGRAPHY BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Equipo Cronica. Cataloging Graphic work and multiples 1965-1982", Ed.Museo de Bellas Artes de Bilbao 1988, no. 60. Page 83

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CHRONICLE TEAM

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Estim. 180 - 270 EUR

Isadore Ressler, attr., Landscape Idyll Light summer landscape with large gnarled olive trees on the roadside in front of the village with farm boys and a woman resting in the shade of the trees, between the trees a view of a village lying in the valley, as noted in an article in the "DETROIT JEWISH CHRONICLE" of 4 July 1941: "... Very few art exhibitions shown in Detroit during the past 25 years have been without the works of the modest, friendly and kindly Isadore Ressler. Mr Ressler, who has been an artist for more than half a century, is small in stature, but always looms large when his works reveal the genius of the man. ... His landscape studies are impressive ... In all his works one finds his reactions to the beauties of nature. ...", partly impasto painting in friendly colours, oil on canvas, not clearly signed and dated "...Ressler 1909" lower left, craquelure, very small retouches, framed in approx. 11 cm wide gold-bronzed stucco molding decorated with stylised leaves (minor losses), rebate dimensions approx. 61 x 86.5 cm. Artist information: Swiss-American Jewish landscape painter, editor, commercial and advertising graphic artist and art juror (1869 Geneva to 1947), trained as an artist in his youth in Germany under Rudolf Reschreiter (1868-1939) in Munich and Leopold Berger in Leipzig, moved to Canada in 1887, lived here for a time in Montreal and Quebec, For 23 years he worked on the editorial staff of the "Montreal La Presse" and later the "Montreal Daily Herald", moved to Detroit in 1916, here a member of Temple Beth El, exhibited at the Michigan Artists Exhibition at the Detroit Institute of Arts, the Fine Arts Gallery in San Diego and exhibitions in Tampa/Florida, Washington D.C., California and Saint Petersburg /Florida, active in Detroit, Source: Article in the "Detroit Free Press" of 30 November 1930, article in "The Detroit Jewish Chronicle and the Legal Chronicle" of 4 July 1941 and Internet.

Estim. 1 600 - 2 000 EUR

Equipo Crónica (Valencia, 1964 - 1981). "El Guernica". 1971 Silkscreen on paper, copy 82/100. Signed and numbered in pencil. Measurements: 75 x 55 cm; 81 x 61 cm (frame). 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 aims. 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 themes critically analyzed the political situation in Spain, as well as the History of Art, for which they were inspired by classic works such as Picasso's "Guernica" or Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on a darker and more somber image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to make a "chronicle of reality", a sort of social realism but using current visual systems. 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, such as the newspaper photo. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire. Demystifying and decontextualizing the works of classic Spanish masters such as Velázquez, Goya or El Greco, they made their figures appear (the gentleman with his hand on his chest, the Duchess of Alba, etc.) as images in newspapers or advertisements, inaugurating buildings or among washing machines and express pots. 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.

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.

Estim. 320 - 440 EUR

Valdés, Ramón M - The Independence of the Isthmus of Panama. Its antecedents, causes and justification. - Panama - Imp. Star and Herald - 1903 - 23 cm - unbound Number of pieces: 1 Pages: 21 pp. -

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