Null AGUSTIN ESPAÑOL VIÑAS (1929). "COMPOSITION".
Mixed media on cardboard.
The …

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AGUSTIN ESPAÑOL VIÑAS (1929). "COMPOSITION". Mixed media on cardboard. The paint layer has slight flaking. 99 x 70 cm; 101 x 71 cm (frame).

771

AGUSTIN ESPAÑOL VIÑAS (1929). "COMPOSITION". Mixed media on cardboard. The paint layer has slight flaking. 99 x 70 cm; 101 x 71 cm (frame).

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Estim. 200 - 300 EUR

Albert Hennig, Altschedewitz Suburban houses with a person in the warm light of the fading day, pastel and felt-tip pen on wove paper, signed and dated "AHennig (19)93" lower left, mounted on cardboard, sheet dimensions approx. 19.5 x 23.3 cm. Artist info: German painter, photographer and graphic artist. Painter, photographer and graphic artist (1907 Leipzig - 1998 Zwickau), studied 1932-33 with a scholarship at the Bauhaus Dessau/Berlin under Joost Schmidt, Mies van der Rohe, Wassily Kandinsky, Paul Klee and Josef Albers, subsequently unemployed, 1935-45 conscripted as a construction worker, after 1945 founding member of the group "Bildender Künstler" at the Kulturbund Zwickau, from 1952 member of the Verband Bildender Künstler (VBK) of the GDR, worked as a concrete worker from 1952-72 due to disputes with dogmatic cultural functionaries, in his free time he created an important work in the tradition of the Bauhaus, freelance from 1972 and his work was increasingly recognised in the GDR, received numerous awards, including the Max Pechstein Prize and the Federal Cross of Merit, worked in Zwickau, source: Vollmer, Eisold "Painters in the GDR" and Internet.

Estim. 35 000 - 50 000 EUR

Albert Einstein Autograph Letter Signed to a Unified Field Theory Collaborator: "Have been calculating very busily" ALS signed “A. Einstein,” one page, 8.5 x 11, [postmarked November 15, 1928]. Handwritten letter to German mathematician Chaim Herman Muntz, in part (translated): "I am at present in Gatow (directly across from the Kaiser Wilh. Tower and on the Havel, Lemke Estate, chauffeur’s apartment), and have been calculating very busily. I have found the following: [mathematical equations]. 1) The solution [mathematical equations] indeed satisfies the field equations. 2) Taking the electric field into account, I have thus far not been able to solve the centrally symmetric case, owing to its complexity. Even solving the variation problem with coordinates fixed before the variation is too complicated for me. But I will keep trying. 3) For the case [mathematical equations] no real centrally symmetric static gravitational solution exists; for the case [mathematical equations] it is indeterminate. It therefore appears to be fairly certain that the invariant is correctly chosen, if there is anything at all true in the whole theory. Everything now depends on the exact solution of the electric problem." He adds a postscript, in full: "I will stay here for about another week." In very fine condition, with an ink stain to the upper right blank area. Accompanied by the original mailing envelope, addressed in Einstein's own hand. Published as part of The Collected Papers of Albert Einstein, Volume 16: The Berlin Years: Writings & Correspondence, June 1927-May 1929 (English Translation Supplement), Document 314, p. 305. Einstein began his correspondence with Muntz in 1927, and in 1928 was writing to him on 'distant parallelism,' an extension of Riemannian geometry in which new mathematical objects, called 'tetrads' are introduced, which allow for the comparison of the direction of vectors at distant points of the spacetime. This letter relates to those investigations, which Einstein felt to be important as a mathematical attempt at a unified field theory—the incorporation of electromagnetism and gravitation in a single field theory. Although he published a number of papers on the subject from 1928 to 1931, the work is considered inaccurate and not recognized by physicists of today. During this period Einstein was working closely with colleagues Herman Muntz and Cornelius Lantz on formalizing the 'Unified Field Theory of Gravitational Force and Electromagnetism.' Einstein’s article 'On Unified Field Theory' was presented on January 10, 1929, and published on January 30, 1929, by the Prussian Academy of Sciences. In the article he discloses the final stages of the development of this theory, and it reveals critical stages in the solution that he presents. The theory tried to achieve one unified formula that would unite the electromagnetic and gravitational fields and present them as different manifestations of a single universal force. At the article's close, Einstein expresses appreciation for Muntz's assistance: 'It is my pleasant duty to thank Dr. H. Müntz for his laboriously precise calculation of the centrally symmetric problem on the basis of Hamilton’s principle the results of his calculation suggested to me the method used here.'

Estim. 1 200 - 1 500 EUR

[South America]. The Costume of the inhabitants of Peru. London, Edington, sd [c. 1805]. In-4 with [1] f. engraved title and 19 plates of costumes stippled and carefully watercolored at the time. Contemporary vellum-style ivory paper spine boards, engraved title label glued to front board. A few minor flaws to the boards, a few small freckles. Some plates show a very slight trace of numbering. Indian representation of the costumes of the Ynca and his Queen ; A Lady of Lima in fer full dress ; Male inhabitant of Lima in the middle class of society ; A Female of Lima of the middle class of society ; Indians Male and Female in Costumes of Festivity ; Female Domestic of Lima of the Class of Quarterons ; Two Female Domestics of Lima, Natives,who have adopted the Spanish dress ; Civilized Indian wearing the Poncho ; Virgin of the Sun ; A Mestizo of Quito professing a liberal art accompanied by his pupil ; Mulattoes of Quito ; Female Indian, habited as the Minerva of Peru ; Female warrior of the Yurimagua Tribe ; Indian Warrior belonging to a barbarous Tribe ; Fighter at a Bull Feast ; Bozal, or Raw-Negro, residing in the district of Lima ; Indian woman of a village, near Lima ; Overseer of a Royal Peruvian Mine ; Llamas or Peruvian sheep. Very rare suite of plates of Peruvian costumes, reprinted from Joseph Skinner's "The present state of Peru...", London, Richard Philipps, 1805. An identical suite was published for Wallis and Edington, dated 1816 (6 copies in public collections, mainly in the United States). (Colas 2751.)

Estim. 2 500 - 2 800 EUR

JOAQUÍN PEINADO (Ronda, Málaga, 1898 - Paris, 1975). "Wooded Landscape", 1951. Ink and gouache on paper. Signed and dated in the lower left corner. Size: 55 x 36 cm; 71 x 52 cm (frame). Joaquín Ruiz-Peinado Vallejo was a cubist painter, successor of Cézanne and spiritual son of Picasso, he was one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918 and in the following years became a pupil of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he had finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies, while at the same time he became interested in Cubist painting, an aesthetic he would personalise and maintain in his works. In 1924 he also showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of Spanish artistic life, taking part in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. In 1926 he also won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he took part in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures by Spanish Residents in Paris, at the Botanical Gardens in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He was also involved in the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, and as a set designer and draughtsman for Feyder's "Carmen" (1925). In 1926 he also took part in the performance of Falla's "El retablo de Maese Pedro" in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. In time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would become director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. In 1946 he was also one of the organisers of the exhibition "Arte de la España Republicana. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date onwards his international exhibitions were frequent, both individual and collective, and he was grouped together with the best French art of the time. However, it was not until 1969 that a retrospective of his work was held in Spain; organised by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was made a member of the Royal Academy of San Telmo in Malaga. His work is currently widely represented in the museum that bears his name in Ronda.

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