Null Triona SWEENEY
Now, I see a startlingly changed future coming towards us at…

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Triona SWEENEY Now, I see a startlingly changed future coming towards us at a rate of knots, 2023 Framed oil on linen 40 x 40 cm Extract from Neil Hegarty's essay Klondike' from Impermanence The places represented in Triona Sweeney's work are inspired by the concept of the non-place, the "in-between". They emphasize the sense in which the final composition is the result of accretion and fusion: observing landscapes and features from many different places, and reshaping, recasting and reimagining them through the process of drawing and painting. The intimate gestural compositions depict a journey. Rather, they are interstitial landscapes marked by human intervention. Spaces where the human meets the natural world. These places are uninhabited, but anthropomorphized by the artifact of habitation. In this sense, his work is concerned with the subjectivity of the perception of space itself. And, by considering the role and significance of non-places, she puts forward an emergent understanding of these spaces.

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Triona SWEENEY Now, I see a startlingly changed future coming towards us at a rate of knots, 2023 Framed oil on linen 40 x 40 cm Extract from Neil Hegarty's essay Klondike' from Impermanence The places represented in Triona Sweeney's work are inspired by the concept of the non-place, the "in-between". They emphasize the sense in which the final composition is the result of accretion and fusion: observing landscapes and features from many different places, and reshaping, recasting and reimagining them through the process of drawing and painting. The intimate gestural compositions depict a journey. Rather, they are interstitial landscapes marked by human intervention. Spaces where the human meets the natural world. These places are uninhabited, but anthropomorphized by the artifact of habitation. In this sense, his work is concerned with the subjectivity of the perception of space itself. And, by considering the role and significance of non-places, she puts forward an emergent understanding of these spaces.

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Estim. 300 - 400 EUR

Anonymous. Procez et amples examinations sur la vie de Caresme-Prenant [...] Translated from Italian into French. Paris, sn, 1605 [18th century]. In-8, [9] ff. Reprint, made at an undetermined date in the 18th century, of the original edition of a burlesque play on the theme of Lenten festivities, very rarely found in 17th-century printings. This was followed by the reprinting of 7 "pièces galantes" that normally accompany it in seventeenth-century collections: 1. Traicté de mariage entre Julian Peoger dit Janicot, & Jacqueline Papinet sa future espouse. Lyon, 1611 (XVIIIth), (8) ff. 2. La Copie d'un bail et ferme faicte par une jeune dame de son con. Pour six ans. Paris, Viart, 1609 (XVIIIe siècle), (3) ff. 3. La Raison pourquoy les femmes ne portent barbe au menton, aussi bien qu'à la pénillière ; et ce qui a esmeu nosdictes femmes à porter les grandes queuës. Paris, 1601 (XVIIIth), (4) ff. 4. La Source du gros fessier des nourrices, et la raison pourquoy elles sont si fendues entre les jambes. Avec la complainte de Monsieur le Cul contre les inventeurs des vertugalles. Printed for Yves Bomont, sd [XVIIIe]. (8) ff. 5. La Source et origine des cons sauvages, et la manière de les aprivoiser, et le moyen de prédire toutes choses à advenir par iceux. Lyon, Jean de la Montagne, 1610 [XVIIIe]. (11) ff. 6. La grande et véritable pronostication des cons sauvages, avec la manière de les aprivoiser, nouvellement imprimée par l'autorité de l'abbé des Conars. [XVIIIe]. (5) ff. 7. Joyful sermon by a nursemaid depucellator. [18th century]. (6) ff. Red half-maroquin with corners, finely decorated spine, gilt title, date on tail, triple gilt fillet on covers (19th c. binding). A few small brown spots. A fine copy. (Brunet I, 1576 and IV, 893; Gay, III, 870-71.) Engraved bookplate from the library of Mr. Beaupré, conseiller à la cour de Nancy. Bookplate JM.

Estim. 15 000 - 18 000 EUR

SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Dance of time II", 1979. Bronze with green patina. Exemplary 44/350. Edition limited to 350+35 E.A. Marble base. Signed on the lower left side of the base and numbered on the front of the base. With foundry stamp on the front of the base. A copy of the certificate of authenticity is enclosed. Measurements: 30,5 x 24 x 24 cm (figure); 2,5 x 24,5 x 25 cm (marble base). The motif of the melted clock has probably been the most praised of Dalí's surrealist objects. In the painting "The Persistence of Memory" (1931), the soft clocks slipped from their supports and slid through an arid terrain of metaphysical cadences. The sculptural clock shown here was conceived by Dalí forty years later. The green patinated bronze and golden bronze details seem to melt like a liquid gem, suggesting to us that linear and objective time does not exist, but is malleable and subjective, playful and elastic like this clock whose dial and Arabic numerals are elongated and distorted by the effect of gravity. Dalí, a great reader of Freud, supported the Freudian concept of the "elasticity of psychic time" (that of memory and dreams) and managed to give it a unique visual form. It should also be noted that Dalí's works with melted clocks contain an underlying critique of the rigidity of time in modern society, where people are often dominated by the clock and the concept of linear time. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache imitating Velázquez's, which would become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "Un perro andaluz" (An Andalusian Dog), which showed scenes from the surrealist imaginary. In August of that same year he met his muse and future wife Gala. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. His work greatly influenced the direction of surrealism for the next two years, and he was hailed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to art dealer Julian Levy. As a result of his first individual exhibition in New York, his international projection was definitively consolidated, and since then he has been showing his work and giving lectures all over the world. Most of his production is gathered in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London.

Estim. 2 000 - 2 500 EUR

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). "Winged Triton", ca. 1972. Bronze sculpture on marble base, example A 289/300. Signed and justified at the bottom. Certificate of authenticity issued by Exmundart enclosed. Measurements: 22 x 11 x 11 cm. Dalí represented the marine god, son of Poseidon, gliding over the waters, dispensing with the company with which we are accustomed to seeing him in classical iconography (accompanied by horses and nereids, surrounded by dolphins and playing the conch shell with which he announced storms). Triton possessed the gift of prophecy, which is why he was often the guide of the great mythological heroes. Dalí, on the other hand, focused on the character's vulnerability, emphasising the sensation of instability produced by the waves on the hero's flesh. In his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache in imitation of Velázquez's, which was to become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which depicted scenes typical of the surrealist imaginary. In August of the same year he met his muse and future wife Gala. During this period Dalí held regular exhibitions in both Barcelona and Paris, and joined the Surrealist group based in the Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

Estim. 12 000 - 13 000 EUR

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Red and black composition", circa 1962. Oil and gouache on lithographed paper mounted on canvas. Attached is a certificate issued by the Antoni Clavé Archives. The work is registered in the Antoni Clavé Archives, Paris. No : 62TMPMT18. Signed in the lower right corner. Size: 57 x 77 cm; 67 x 87 cm (frame). On a dark background the intensity of the red stands out, reaching a contrast of colours, which brings vivacity to the composition and awakens the spectator's gaze. Through the play between red and black, a resource often used by Antoni Clave, the artist deploys a whole set of elements, apparently random, which come together to form a baroque composition. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

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