Montesol. Javier Ballester Guillén (Barcelona, 1952)
Plaça de Girona.
Mixed med…

Description

Montesol. Javier Ballester Guillén (Barcelona, 1952) Plaça de Girona. Mixed media on paper. Signed and dated 2008. 126,5 x 126,5 cm.

1082

Montesol. Javier Ballester Guillén (Barcelona, 1952) Plaça de Girona. Mixed media on paper. Signed and dated 2008. 126,5 x 126,5 cm.

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Estim. 7 000 - 8 000 EUR

JAVIER MARISCAL (Almazora, Castellón, 1950). Palo Alto, Barcelona. May 2006. Oil on canvas. Signed and dated in the right margin; signed, located and dated on the back. Provenance; Private collection Measurements: 180 x 160 cm. The mastery of Javier Mariscal to compose animated scenes, crowds lit by the magic of the night, has no competitors. With a carefree style he arranges the characters in this canvas in an apparently random way, but under the apparent chaos of spotlights, toasts, smiles, bodies and tables there is a compositional rigor that is the result of genuine gifts. Mariscal drinks from comics, but transforms the cartoon into a sociological and plastic incursion. We recognize his signature in each of his characters, those synthetic faces and some of them slightly dog-like, reminiscent of one of the most famous mascots of the last decades. A renowned industrial designer, cartoonist and comic artist, Javier Mariscal has lived and worked in Barcelona since 1970. He studied design at the Elisava School in Barcelona, but soon abandoned his studies to learn directly from his surroundings and follow his own creative impulses. He began his career in the world of underground comics in publications such as "El Rrollo Enmascarado" or "Star", along with Farry, Nazario and Pepichek. After making his first own comics in the mid-seventies, in 1979 he designed the Bar Cel Ona logo, a work for which he began to be known by the general public. The following year the Dúplex opened in Valencia, the first bar signed by Mariscal, together with Fernando Salas, for which he designed one of his most famous pieces, the Dúplex stool, a true icon of design in the eighties both inside and outside our borders. In 1981 his work as a furniture designer led him to participate in the exhibition of the Memphis Group in Milan. In 1987 he exhibited at the Georges Pompidou Center in Paris and participated in the Documenta in Kassel. Two years later his design Cobi is chosen as the mascot for the 1992 Barcelona Olympic Games, controversial at first but now recognized as the most profitable mascot in the history of the modern Games. In 1989 he created Estudio Mariscal and collaborated on various projects with designers and architects such as Arata Isozaki, Alfredo Arribas, Fernando Salas, Fernando Amat and Pepe Cortés. Among his most outstanding works are the visual identities for the Swedish Socialist Party, the Onda Cero radio station, the Barcelona Zoo, the University of Valencia, the Lighthouse design and architecture center in Glasgow, the GranShip cultural center in Japan, and the London post-production company Framestore. In 1999 he received the National Design Prize, awarded by the Spanish Ministry of Industry and the BCD Foundation in recognition of his entire professional career.

Estim. 1 000 - 1 500 EUR

FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, Girona, 1976). "Female nude". Oil on tablex. Presents sketch on the back. Signed in the lower right corner. Measurements: 60 x 83 cm; 74 x 97 cm (frame). Painter and draftsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he passed fleetingly through the School of La Lonja in Barcelona, he is basically a self-taught author. He had his first exhibition in 1932, at the Sala Parés in Barcelona, and participated in the Salones de Primavera between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute of Pittsburgh, United States. He continued to hold individual exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was especially influenced by his favorite theme, the feminine. Sporadically he also tackled other themes, such as the urban landscape, of which the series of Paris, presented in 1951, is worth mentioning. Likewise, with his portraits of the lead mine he approached the sensitive realism of Ingres. He won several awards, including the Sant Jordi of Barcelona (1953) and the first medals at the National Exhibitions of Madrid (1957) and Barcelona (1960). He collected several unpublished drawings under the title "Dibujos de Serra" (1973), with a prologue by Santos Torroella. Determined defender of realism in art and of traditional figuration against the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a prologue by Rafael Benet. He is represented in the Museums of Modern Art of Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.

Estim. 1 600 - 1 800 EUR

JAVIER MARISCAL (Almazora, Castellón, 1950) for Akaba. Garriris" chair, 1987. Chrome-plated square steel tube frame with aluminum, plywood seat and red leather upholstery. In very good condition. This model is in important collections and museums such as the Victoria & Albert Museum in London, and the Museu del Disseny in Barcelona. It was exhibited at the George Pompidou in Paris for the Nouvelles Tendances exhibition in 1987. Measurements: 97 x 44 x 60 cm. The Garriris chair assimilates the animated character Mickey Mouse with the iconic ears on the backrest and his characteristic shoes. Renowned industrial designer, cartoonist and comic artist, Javier Mariscal has lived and worked in Barcelona since 1970. He studied design at the Elisava School in Barcelona, but soon abandoned his studies to learn directly from his surroundings and follow his own creative impulses. He began his career in the world of underground comics in publications such as "El Rrollo Enmascarado" or "Star", along with Farry, Nazario and Pepichek. After making his first own comics in the mid-seventies, in 1979 he designed the Bar Cel Ona logo, a work for which he began to be known by the general public. The following year the Dúplex opened in Valencia, the first bar signed by Mariscal, together with Fernando Salas, for which he designed one of his most famous pieces, the Dúplex stool, a true icon of design in the eighties both inside and outside our borders. In 1981 his work as a furniture designer led him to participate in the exhibition of the Memphis Group in Milan. In 1987 he exhibited at the Georges Pompidou Center in Paris and participated in the Documenta in Kassel. Two years later his design Cobi is chosen as the mascot for the 1992 Barcelona Olympic Games, controversial at first but now recognized as the most profitable mascot in the history of the modern Games. In 1989 he created Estudio Mariscal and collaborated on various projects with designers and architects such as Arata Isozaki, Alfredo Arribas, Fernando Salas, Fernando Amat and Pepe Cortés. Among his most outstanding works are the visual identities for the Swedish Socialist Party, the Onda Cero radio station, the Barcelona Zoo, the University of Valencia, the Lighthouse design and architecture center in Glasgow, the GranShip cultural center in Japan, and the London post-production company Framestore. In 1999 he received the National Design Prize, awarded by the Spanish Ministry of Industry and the BCD Foundation in recognition of his entire professional career.

Estim. 7 000 - 8 000 EUR

CERVANTES SAAVEDRA, Miguel De. El ingenioso hidalgo Don Quixote de la Mancha ... Nueva edicion por la Real Academia Espanola. Madrid, Joaquin Ibarra, 1780. 4 volumes in small folio, 239x215 mm. Coeval marbled leather binding, backs with titles on gilt gussets and decorations, marbled endpapers, gilt edges. Vol. I: Allegorical frontispiece engraved by Selma, Frontispiece, pp. XIV, 2, portrait of Cervantes engraved by Manuel Salvador y Carmona, pp. CCXXIV, fold-out map outside text, 199, 1 blank, 6 plates outside text engraved in copper by Carmona, Gil. Selma and Moles. Vol. II: Antiporta engraved by Selma, pp. 4, 418, 9 plates out of text engraved by Fabregat, Ballester, Carmona and Selma. Vol. III: Antiporta engraved by De la Cruz, pp. 2, XIV, 306, 7 plates out of text engraved by Barcelon, Selma, Ballester and Fabregate. Vol. IV: Antiporta engraved by De la Cruz, pp. 4, 346, 9 plates outside text engraved by Ballester, Muntaner, Fabregat and Selma. Intaglio headpieces, initials and endpapers. Overall, 4 frontispieces, 1 portrait, 31 plates outside text and a geographic map folded several times, all copper-engraved. RM monogram engraved in gold on backs. Traces of use to binding, minor loss to headpiece of volume four, internally sporadic foxing and a few traces of use, slight moisture glazing to first and fourth volumes, overall good copy in its original binding. The most famous edition of Don Quixote in Spanish, a true masterpiece of typographic art. Printed by Ibarra for the Real Academia, this edition represents the highest example of Spanish craftsmanship lavished on the nation's greatest literary work. Palau: "magnificent, superior in artistic beauty to all others produced in Spain or abroad." Updike: ""the finest edition of Don Quixote that has ever been printed."" The work excels in the beauty of its characters, paper, layout, and iconographic apparatus, and presents a carefully correct text. The illustrations and fine ornaments engraved in the text are produced by the best Spanish artists of the time: both the paper and the typefaces were created especially for this edition. The illustrations, designed by Carnicero, Barranco, Brunette, Del Castillo, Ferro and Gil, are engraved by Ballester, Barcelon, Fabregat, Gil, Mol, Muntaner, Salvador y Carmona and Selma. It contains the first map describing the route taken by Don Quixote and Sancho Panza through Spain. This edition was chosen by the Fathers of Seville as a symbol of gratitude after the defeat of Napoleon by the British. The choice of this edition as a gift of thanks for saving Spain from Napoleon's assault is of the utmost importance and testifies to the esteem in which it was held by the Spanish people. THE English bibliophile William Davis wrote in 1821:" the celebrated Ibarra edition is so well known, that I need only refer to M. Paris's sale, 1791, where a copy sold for £16, 16 shillings, and Col. Stanley's, where a copy sold for £17, 6 shillings, 6 pence." Brunet, I, 1749.. Cat. Salvà, 1564. Cat. Heredia, 1208. Ruiz Lasala, Juaquin Ibarra y Marin, p. 162; Palau III.52024; Cohen Ricci 218-19 ; Updike, Printing types, II, p. 73. William Davis, A Journey Round the Library of a Bibliomaniac. 4 volumes in small folio, 239x215 mm. Contemporary binding in marbled leather, spines with titles on labels and gold decorations, marbled endpapers, gilt edges. Vol. I: Allegorical Frontispiece engraved by Selma, Titlepage, pp XIV, 2, portrait of Cervantes engraved by Manuel Salvador y Carmona, pp. CCXXIV, Geographical map folded out of text, pp. 199, 1 blank, 6 copper plates engraved by Carmona, Gil. Selma and Moles. Vol. II: Allegorical Frontispiece engraved by Selma, pp 4, 418, 9 plates engraved by Fabregat, Ballester, Carmona and Selma. Vol. III: Allegorical Frontispiece engraved by De la Cruz, pp 2, XIV, 306, 7 plates engraved by Barcelon, Selma, Ballester and Fabregate. Vol. IV: Allegorical Frontispiece engraved by De la Cruz, pp 4, 346, 9 plates engraved by Ballester, Muntaner, Fabregat and Selma. Engraved Initials, Head and Tailpieces. Overall, 4 Frontispieces, portrait of the author, 31 plates after Carnicero, Barranco, Brunette, Del Castillo, Ferro and Gil, engraved by various artists, and 1 double-page map, all engraved in copper. RM monogram engraved in gold on the spine. Traces of use on the binding, small losses on the cap of the fourth volume, sporadic foxing internally and some traces of use, slight dampness on the first and fourth volumes, overall a good copy in its original binding. The most famous edition of Don Quixote in Spanish, a true masterpiece of typographic art. Printed for La Real Academia Española (the Spanish Royal Academy) by Joaquín Ibarra y Marín, this edition was prepared at great expense over the course of seven years for the Real A

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