Null "Villa Venitienne", Giuseppe Mazzotti, Ed. Carlo Besteti, 1966? Book in Ita…

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"Villa Venitienne", Giuseppe Mazzotti, Ed. Carlo Besteti, 1966? Book in Italian with slipcase

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"Villa Venitienne", Giuseppe Mazzotti, Ed. Carlo Besteti, 1966? Book in Italian with slipcase

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Current bid 10 EUR

Giuseppe VASI (1710-1782) "Casino di Villa Ludovisi presso Porta Pinciana" Circa 1890 Chalcography framed under glass Monogrammed lower left outside the plate H 20.5 x W 33 cm

Estim. 30 - 40 EUR

BARRET (Gaston) & MUNTHE (Axel). Le Livre de San Michele. Monte-Carlo, Éditions du livre, 1948. 2 vol. in-8 paperback, printed covers filled, in publisher's folder and slipcase. Original color lithographs by G. Barret. Edition of 3000 copies (n°1287). A very good copy of this fine autobiographical account (translation by Paul Rodocanachi) by the Swedish physician Axel Munthe (1857-1949), most of which takes place in Capri.

Estim. 12 000 - 15 000 EUR

FORD BECKMAN (Columbus, 1952-Tulsa, 2014). "Black wall painting," 1990-1991. Acrylic, enamel, wax and industrial varnish on canvas. Exhibitions: 2009 (March 26-May 17), "Private Life. Representations of contemporary tragedy and banality", MUBAG, Alicante. Bibliography: "La vida Privada. Representations of contemporary tragedy and banality", Ed. MUBAG, Alicante 2009, p. 83. Measurements: 200 x 205 cm. The first thing that comes to mind when contemplating this painting is Malevich's "Black square on white". Malevich believed that art should not imitate the real world, but create its own reality. The black square has been read in an infinite number of ways in the course of art history: as an idea of infinity, as nothingness or emptiness in the Eastern sense, as pure energy, or as the impossibility of representation. Ford Beckman takes up the reflection on the nature of art and the limits of representation, but introduces a particular twist. In "Black wall painting", technical experimentation is evident in the unusual combination of materials (acrylic, enamel, wax and industrial varnish), resulting in a work that, although in dialogue with the Suprematist tradition and its derivatives (hard-edge painting, geometric abstraction), does not seek to conceal the brushstroke or hide the human trace, but on the contrary emphasizes the importance of the support and gives the drips and imperfections an aesthetic patina. Having initially trained in the field of advertising and fashion, Ford Beckman developed a pictorial work free from pre-established precepts of what contemporary artistic practice is supposed to be. This allowed him to explore abstraction with complete freedom, but also to delve into the exploration of an unconventional figuration. Ford Beckman was a successful fashion designer in New York in the 1980s before devoting himself entirely to the fine arts in the 1990s, especially painting. In the late 1980s, Beckman moved into a Manhattan studio and held his first solo exhibition in New York in 1988. In 1992, Beckman opened his first solo show in Europe at the Hans Mayer Gallery in Düsseldorf. Ford Beckman's works were acquired in Europe by collector Giuseppe Panza and the Essl Collection, among others. Beckman was a friend of Cy Twombly. His was a blazing career. Beckman moved to Tulsa, Oklahoma, where he died at the age of 62. Solo exhibitions (selection): 1990: Tony Shafrazi Gallery, New York; 1992: Hans Mayer Gallery, Düsseldorf; 1996: Kestnergesellschaft, Hannover.

Estim. 1 800 - 2 000 EUR

ANTONIO ROJAS (Tarifa, 1962). "Approach", 2019. Acrylic on canvas. Enclosed certificate at the buyer's request. Work reproduced in; "Punto de Mira, Antonio Rojas". Ed. Port Authority of Santander p.35. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 48,5 x 170 cm. Antonio rojas lives in Madrid, although his native land is very present in most of his works. This warm memory is united with an aesthetic of character, colder and more rigorous based on geometry, lines and planes. The coexistence of these two factors relates his work to the new "metaphysical painting". Among the devotions of Antonio Rojas are key names in painting such as Guillermo Pérez Villalta, Chema Cobo and Carlos Alcolea, artists who initially influenced him with their different attitudes. Also artists as essential as Giotto, Piero della Francesca or Fra Angelico as well as Cezànne and De Chirico. In the artist's own words, "I am interested in geometry insofar as it is useful to me for structuring and organising. ...For me the contours of empty, monochromatic surfaces are important, only altered by the stamping of a systematic sea... As for the composition of the images "I am not interested in the use of any particular rule to distribute and provide spaces..., intuition is for me the best formula". Attentive to the creation of empty spaces, places in shadow, "the nearby walls, furniture, windows... All these smooth surfaces, velvety with the reflection of the colours of distant objects, always full of air, shadow and light, are important to me". He had his first individual exhibition with Magda Bellotti in Algeciras (1983 and 1986), a gallery to which he was a regular during the subsequent development of his entire career. In Madrid he began to exhibit in the Fernando Vijandre gallery in 1987, in Manolo Montenegro's gallery (1988), with Antonio Machón (in 1990 until 2000) and with My name's Lolita Art (Valencia, 1996, and Madrid, 2002). In 1994 he was selected for the exhibition "Muelle de Levante". In 1991 he took part in the collective exhibition "El Retorno del Hijo Prodigo" at the Buades Gallery in Madrid and was awarded the Endesa Scholarship. He also obtained residencies at the Delfina Studios in London and at the Academy of Fine Arts in Rome between 1993-94 and in 2004 he won first prize at the VI Biennial of Painting "City of Estella Lizarra".

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