Null "Joyce Baronio, 42nd Street Studio, Ed. Contrejour, 1980

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"Joyce Baronio, 42nd Street Studio, Ed. Contrejour, 1980

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"Joyce Baronio, 42nd Street Studio, Ed. Contrejour, 1980

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Estim. 50 - 100 EUR

Primo Conti, Studio Cocomeraia Primo Conti, Studio Cocomeraia double dating 1917/1982 aquatint 23.5x18.5 cm, within frame copy 55/130 lower left embossed stamp 'Edizioni d'Arte Cantini' lower right signature and date lower right Bibliography: L. Faccioli, Primo Conti - General Catalogue of Graphics. Engravings, lithographs, serigraphs, ed. Electa, 1991, p. 109 n 186

Estim. 8 000 - 10 000 EUR

Beatles Signatures - Signed at 1964 Ed Sullivan Show Rehearsals Coveted set of large vintage ballpoint signatures, "John Lennon," "Paul McCartney," "George Harrison," and "Ringo Starr," on a light blue 7.75 x 5 aerogramme, signed at the Deauville Hotel in Miami on February 15, 1964, their rehearsal day for their second appearance on the Ed Sullivan Show. The signatures were obtained by Marie Donaldson, a UK press officer for ABC Television, and sent to her nephew in New Zealand. Inside is a note from Donaldson, in part: "Here at last are the precious autographs I got from The Beatles! You will have read my letter all about the day I spent with them at the T.V. Studios. They are very nice & quite unspoilt by their success." In very good condition, with moderate overall creasing, folds, and handling wear, and a few unobtrusive corner staple holes. Accompanied by a certificate of authenticity from Tracks and a letter of provenance from the recipient's nephew. One week after making their famous appearance on the Ed Sullivan Show, broadcast from New York, the Beatles again joined Sullivan—this time at Miami’s Deauville Hotel—for a special live show. A spectacular signature set from a historic moment in Beatles history—their second introduction to the American public.

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. 16 000 - 18 000 EUR

ESTEBAN VICENTE PÉREZ (Turégano, Segovia, 1903 - New York, 2001). Untitled, 1967. Ink on paper. Signed. Exhibitions: Madrid, Elvira González Gallery, "Esteban Vicente. Black and white", 17 March - 14 April 2000, page 33 (reprod.). Barcelona, Alejandro Sales Gallery, "Esteban Vicente", November 2006 (reprod.). Measurements: 48 x 70 cm; 70 x 90 cm (frame). Esteban Vicente enters, in 1921, in the School of Fine Arts of San Fernando, in Madrid, with the purpose of training as a sculptor, but soon decides to devote himself to painting. In 1928 he held his first exhibition, after which he went to Paris, where he remained until 1930. He returned to Spain and exhibited in Barcelona and Madrid, and after the outbreak of the Civil War he worked in hiding in the mountains surrounding the capital. However, the same year of 1936 he decides to go to New York, his wife's place of origin. There he exhibited for the first time at the Kleeman Gallery in 1937. Four years later he obtained the American nationality since, having been a supporter of the Republican side, he decided not to return to Spain. He carried out numerous commissions and exhibitions in the following years, and between 1947 and 1947 he was a professor of painting at the University of Puerto Rico. Upon his return to the United States he established a relationship with the nascent New York School, participating in his exhibitions at the Kootz Gallery (1950), the Ninth Street Art Exhibition (1951) and at the Sidney Janis and Egan Galleries. He was a founding member of the New York Studio School, where he taught for thirty-six years. From the eighties onwards his work began to be known in Spain, retrospectives were dedicated to him (Banco Exterior, 1987, and Museo Reina Sofía, 1997) and he was awarded mentions such as the Gold Medal for Merit in Fine Arts (1990) and the Great Cross of Alfonso X the Wise (1999). In 1998 the Esteban Vicente Museum of Contemporary Art was inaugurated in Segovia, where a large part of his work is preserved today. Vicente's works are kept in major contemporary art museums around the world, such as the Metropolitan, the Guggenheim and the MOMA in New York, the Museo Nacional Reina Sofia in Madrid, the Smithsonian in Washington D.C., the Withney Museum of American Art or the Indianapolis Museum of Art, among others.

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