HERNÁNDEZ VALLEJO, INDALECIO (1922 - 2000)
Oil on cardboard. Signed in the lower…

Description

HERNÁNDEZ VALLEJO, INDALECIO (1922 - 2000) Oil on cardboard. Signed in the lower left corner. 35x26cm

279

HERNÁNDEZ VALLEJO, INDALECIO (1922 - 2000) Oil on cardboard. Signed in the lower left corner. 35x26cm

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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. 5 000 - 6 000 EUR

JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). Untitled, 1956. Oil on paper adhered to board. Signed, dated and dedicated in the upper left corner. Measurements: 50 x 64 cm; 81 x 97 cm (frame). This oil on paper belongs to an early stage of the artist in which he was interested in formal simplification, influenced by both avant-garde expressionism and Romanesque art. Joan Hernández Pijuan began his training in Barcelona, attending the La Lonja and Sant Jordi Schools of Fine Arts, before completing his studies at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among Spanish artists of recent decades. The strength of his creative individuality places him on the fringes of the successive dominant trends and fashions, but does not prevent us from recognising in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practising a tragic expressionism with a strong social charge, and at this time he formed, together with the other members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting geometric figuration, a style he left behind in the following decade to focus on informalism. In fact, interest in and fascination with this painter's career continues to be as strong as ever, and he is the subject of new exhibitions and public displays of his work. During his lifetime he had solo exhibitions in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 he was the subject of a major retrospective exhibition at the MACBA in Barcelona, which was subsequently shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museo de Arte Abstracto Español in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed a member of the Real Academia de San Fernando in Madrid. In 1981 he received the Premio Nacional de Artes Plásticas, in 1985 the Cruz de Sant Jordi and, in 2004, the City of Barcelona Prize. He was also awarded the Prize of the Directorate General of Fine Arts at the National Exhibition in Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Ljubljana Biennial of Engraving (1965), the International Biennial of Engraving in Krakow (1966) and the "Vijesnik u Srijedu" editorial prize in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centres such as the Guggenheim Museum in New York, the Liaunig (Austria), the Helsinki Museum of Contemporary Art in Helsinki, the Helsinki Museum of Fine Arts in Finland, the Helsinki Museum of Contemporary Art in Finland, the Helsinki Museum of Fine Arts in Finland and the Helsinki Museum of Contemporary Art in Finland, those of Contemporary Art in Helsinki and Luxembourg, the Kulturstiftung in Bad Homburg (Austria), the Yamaguchi Gallery in Osaka (Japan), the Palace of Fine Arts in Brussels, the National Gallery in Montreal, the Museum of Modern Art in Buenos Aires and the Sztuki Museum in Lodz (Poland).

Estim. 15 000 - 18 000 EUR

JOSÉ GUERRERO (Granada, 1914 - Barcelona, 1991). Untitled, 1985. Oil on lithographic background. Signed and dated. Bibliography: Baena, Francisco; Guibault, Serge; Ramírez, Juan Antonio; Romero Gómez, Yolanda; Vallejo Ulecia, Inés, Catalogue Raisonné Vol. II. 1970-1991, ed. Centro José Guerrero, page 1090, nº 1133. Measurements: 68 x 48 cm; 82 x 64 cm (frame). Spanish painter and engraver nationalized American, José Guerrero developed his work within the abstract expressionism. He began his training at the School of Arts and Crafts in Granada, and soon moved to Madrid to continue his studies at the Escuela Superior de Bellas Artes de San Fernando, where he was a student of Daniel Vázquez Díaz. In 1942 he obtained a scholarship from the Casa de Velázquez, and in 1945 he moved to Paris thanks to a new scholarship, this time granted by the French government. In the French capital he got to know first hand the European avant-garde, and came into contact with the Spanish painters of the School of Paris. Since then, his work is full of avant-garde echoes and Picasso's signs, clearly visible in this work, features that he will abandon in the fifties, when he discovers abstract expressionism in New York. He arrived in that city in 1950, encouraged by his wife, the New York journalist Roxana Pollock, whom he had married a year earlier. In 1954 he exhibited with Joan Miró at the Art Club of Chicago, an exhibition that meant his definitive international projection. His dealer was Betty Parson, one of the most important gallery owners in New York at the time. Guerrero's style then changed completely, showing a profound influence of Rothko and Kline; he definitively abandoned figuration and built compositions where a marked tension between spaces, colors and unrecognizable objects was evident. He returns to Spain in 1965, and participates in the creation of the Museum of Abstract Art in Cuenca. He soon returned to New York, although he continued to make trips to Spain. His production, which continues to be characterized by the power of masses of color, planes and lines, is influenced at this time by Clyfford Still and Barnett Newman. Today, José Guerrero is recognized as one of the most outstanding Spanish painters of the New York School. He achieved early recognition, being named Knight of the Order of Arts and Letters by the French government in 1959. Likewise, in 1976 his first anthological exhibition was held in his hometown. In 1984 he received the Gold Medal of Fine Arts, and in 1989 he was decorated by the Rodriguez Acosta Foundation. In 2000 the art center that bears his name was inaugurated in Granada, created from the donation made by his widow to the Provincial Council. He is also represented in various museums and collections, including the Guggenheim Museum, the MOMA and the Metropolitan in New York, the Reina Sofia in Madrid, the British Museum and the Patio Herreriano in Valladolid.

Estim. 3 000 - 6 000 EUR

Rolex, "DateJust" model. Year 2000, round wristwatch. Steel case, original tritium cream dial in exceptional condition, Roman numeral hour markers, luminescent hands, fluted bezel, date at 3 o'clock. Signed steel Jubilee bracelet, stainless steel folding clasp. Watch reference: 16220 Movement: automatic Serial no: K224050 Diameter: 36 mm Condition: sur demande/on request

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