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Wed 10 Jul

MANOLO VALDÉS (Valencia, 1942). "Eva III", 1993. Etching and collage on paper. Copy 4/51. Signed and justified in pencil at the bottom. Measurements: 165 x 65,5 cm., 183 x 84 cm. (frame). In this engraving intervened by the artist, the figure of Eva is shown, inspired by the painting of the same title, made in 1507 by Durero, which belongs to the Collection of the Prado Museum. Valdés rescues this figure from the Old Testament, bringing her body to contemporaneity, reducing it to an aesthetic language of synthetic and schematic forms, which preserve the devotional and iconographic expression of the religious figure, who maintains her nimbus of sanctity and her modest posture. Valdés dispenses with the iconic apple and instead introduces the image of a flower, which he places over the sex of the protagonist. This reference also alludes to the work of Dürer, who made numerous drawings inspired by flora and fauna, but the image of the flower also adds a conceptual and metaphorical reading to the piece, which in a veiled way conveys the idea of birth. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan (1965), the silver medal of the II International Biennial of Engravings of Tokyo (1979), the prize of the Bridgestone Art Museum in Lisbon (1979), the National Prize of Plastic Arts (1983), the medal of the International Festival of Plastic Artists of Baghdad (1986), the Decoration of the Order of Andres Bello in Venezuela (1993), the award of the National Council of Monaco (1997), the Gold Medal of Merit in Fine Arts (1998), the Award of the Spanish Association of Art Critics (2000) and the Best Print Artist Award (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritizing above any other content the pure act of painting. From the thematic point of view, Valdés is inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera or Zurbarán, and he never hides his models, but rather emphasizes them, even in the titles of his works. Formally, he creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

Estim. 10 000 - 12 000 EUR

Wed 10 Jul

JOSEP GUINOVART (Barcelona, 1927 - 2007). "Pelaires", 1989. Mixed media on canvas. Signed and dated in the lower left corner. Measurements: 145 x 114 cm. In this painting from the eighties, Guinovart visually breaks with the two-dimensionality of the pictorial surface, making shapes, colors and textures collide. Without crossing the limits of abstraction, the organic suggestions gain relief among the reds and the chiaroscuro of blacks and whites embedded in generous matter. Guinovart summons the material chaos and at the same time subjugates it through an intuitively orchestrated composition. The author gives the viewer an image impregnated with lyricism. The material and gestural impulse is subsumed to a great plastic coherence. Josep Guinovart was trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He soon acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Estim. 7 000 - 8 000 EUR

Wed 10 Jul

JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997). "El retorn del fill pródig", 1952. Oil, wax, pastel and gouache on cardboard. Signed, dated and titled on the back. With Oriol Galeria d'Art label on the back. Measurements: 74,5 x 103,5 cm; 94 x 123 cm (frame). The one now on auction is an early work of the painter Josep Roca Sastre, corresponding to a stage prior to the realization of his intimate interior scenes. The canvas is characterized by an aura of a certain mysticism and magical self-absorption, with the presence of what appears to be a spiritual guide with a cane and a character who venerates him. Trained in Barcelona, from the sixties onwards Roca initiated a personal, independent style and created his own language. His proposal focused on recovering the look of the close and the everyday, the known. He exhibited for forty years in the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honor at the Salon des Artistes Français in Paris. In 1980 he became a member of the Royal Academy of Fine Arts of Sant Jordi, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell. Roca Sastre developed a figurative style of intimate themes, applying a personal and subjective look to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is preserved in the National Museum of Art of Catalonia.

Estim. 2 000 - 2 500 EUR

Wed 10 Jul

JEAN-MARC BUSTAMANTE (Touluse, 1952). "Barcelona 6", 1997. Photography, ed. 3/6 Measurements: 40 x 60 cm; 67 x 85 cm (frame). Of Ecuadorian father and English mother, this French artist (Toulouse, 1952) occupies one of the most outstanding places in contemporary European art. After studying economics in his hometown between 1969 and 1972, he studied photography with Denis Brihat between 1973 and 1975. In 1977 he made his first Site, a photograph that will be part of the series that will find its definitive title in Tableaux and that will be presented for the first time as a group at the Kunsthalle Bern in 1994. Almost simultaneously, in 1978, he began to work as assistant to the photographer and filmmaker William Klein, an activity he maintained until 1981, when he decided to devote himself entirely to his artistic activity. Between 1983 and 1987, he entered a phase of collaborative work with Bernard Bazile and, under the name BAZILEBUSTAMANTE, attracted the attention of the art world with his projects on visual codes and sign systems, exhibited in several galleries and at the Musée Saint-Pierre in Lyon in 1986. Since 1987 he has continued alone with his particular photographic work, among which sculptures, installations and silkscreen prints on methacrylates begin to emerge in an apparently asystematic project that, under its heterogeneity, configures one of the most solid, coherent and unitary artistic programs of the present time. With it he has represented France at the Venice Biennial (2003) and has participated in the Paris Biennial (1980), the São Paulo Biennial (1994) and Documentas VIII, IX and X in Kassel (1987, 1992 and 1997). His work has been the subject of monographic presentations in some of the major international museums, including the Kunsthalle Bern (1989 and 1994), Musée d'art moderne de la Ville de Paris (1990), Stedelijk van Abbemuseum, Eindhoven (1992), Galerie National du Jeu de Paume, Paris (1996), Tate Gallery, London (1998), Yokohama Museum of Art (2002), Kunsthaus Bregenz and Musée d'art moderne et contemporain, Saint-Etienne (2006), Musée d'art moderne et contemporain, Strasbourg (with Ed Ruscha) (2007), Palais des Beaux-Arts, Brussels (2008) and Villa Medici, Rome (2011). The decade of the 10s saw the beginning of retrospectives on his work, initiated in Moscow at The Ekaterina Cultural Foundation (2010), followed by the one organized by the Henry Moore Institute, Leeds (2011) and Sala Alcalá 31, Madrid (2012). In 2008, Jean-Marc Bustamante was distinguished with the Medal of Chevalier of the French Legion of Honor, and between 2012 and 2015 he has been Director of the International Art Festival of Toulouse. After years of teaching as a professor of sculpture, first at the Rijksakademie in Amsterdam (1990-1995) and at the École Superieur Nationale de Beaux-Arts in Paris (since 1996) and then as a professor of painting at the Kunstakademie in Munich (since 2010), he has just been appointed Director of the École Nationale Supérieure des Beaux-Arts in Paris.

Estim. 2 000 - 2 400 EUR

Wed 10 Jul

JOAN JOSEP THARRATS VIDAL (Girona, 1918 - Barcelona, 2001). Untitled, 1993 Mixed media and collage on paper. Signed and dated in the lower margin. Measurements: 50 x 35 cm; 81,5 x 66,5 cm (frame). In this painting with collage on paper made by Tharrats in the nineties, towards the end of his life, we can contemplate the consolidation of a language of informalist roots, which on this occasion stages the symbolic struggle between energy fields materialized in the form of chaotic strokes of calligraphic echoes and gestural impulses. After beginning his training in Béziers (France), in 1935 Tharrats returns to Barcelona and enters the Massana School. He began his artistic activity after the Civil War, in a style that evolved from a certain initial impressionism towards a progressive abstraction, through the influences of Mondrian and Kandinsky. Co-founder of Dau al Set together with Brossa, Ponç, Cuixart and Tàpies, Tharrats made his individual debut in 1949, at the El Jardín galleries in Barcelona. From 1954 he exhibited regularly at the Sala Gaspar in Barcelona, as well as in 1955 in Stockholm and New York, in 1959 at the Biennial of São Paulo, and in Venice at the Biennials of 1960 and 1964. In 1955, after the dissolution of Dau al Set, he participated in the constitution of the Taüll group together with Muxart, Guinovart and his former colleagues Cuixart and Tàpies. Eleven years later, in 1966, he was also a founder of the Association of Contemporary Artists. A pioneer of post-war Catalan avant-gardism, Tharrats evolved from the surrealist-influenced linear abstraction of his Dau al Set period to a richly textured, colorful, free-form informalism. Apart from easel painting, he developed his own version of printmaking techniques ("maculaturas"), and also made posters, book illustrations, murals, stained glass, mosaics, jewelry and opera scenographies. In 1983 he was awarded the Cross of Sant Jordi, and in 1994 the National Prize of Plastic Arts. That same year he joined the Royal Academy of Fine Arts of San Jordi. His work is present in various museums and collections around the world, such as the MoMA and the Guggenheim in New York, the Tate Gallery in London, the MACBA or the Reina Sofia Museum in Madrid.

Estim. 2 800 - 3 000 EUR

Wed 10 Jul

CHEN YIFEI (Ningbo, China 1946 - Shanghai, China 2005) "Bridge of peace", 1985. Lithograph on Arches paper. Copy 312/1000. Attached certificate of authenticity issued by World Federation of United Nations in 1985. With dry stamps of Emiliano Sorini Studio of New York and World Federation of United Nations. Framed in museum glass. Signed and numbered. Measurements: 28,5 x 21,7 cm. Chen Yifei is one of the most recognized oil painters in China and with greater impact in the West. With a versatile personality, he is also known for his work as a film director, businessman, designer and decorator. He began his artistic studies in Shanghai in 1965, where he stood out by focusing his attention on oil painting in a country marked by the tradition of Chinese ink painting. The quality of his brushstroke will make him one of the most famous artists of the Cultural Revolution (although he could not avoid some small mishaps); he painted portraits glorifying Mao Zedong and large revolutionary canvases. He was one of the first artists authorized by the communist government to travel to the United States, where he lived from 1980-1990. It was there that he made his fortune and refined the quality of his style. In 1990 he returned to Shanghai, the city where he spent the rest of his life, influenced by his training in Soviet art and focused on the revolutionary themes that enveloped his environment, his brushwork evolved into more romantic themes, genre scenes, a realistic iconography with a melancholic air and modern details. His most characteristic scenes usually show Chinese women performing everyday actions, dressed in traditional costumes with a multitude of details and dense colors that stand out against dark and neutral backgrounds. Certificate of authenticity issued by the World Federation of United Nations in 1985. Framed in museum glass.

Estim. 800 - 900 EUR

Wed 10 Jul

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "U no es ningú". Lithograph, copy XII/LXXXII. Signed and numbered in pencil. Tàpies Galfetti III, p. 37, fig. 723. Measurements: 56 x 73 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 000 - 1 100 EUR

Wed 10 Jul

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Composition", 1976. Lithograph on Guarro paper, H.C. copy. Signed and justified by hand. Polygraph edition. Tàpies Galfetti II, p. 208, fig. 636. Measurements: 56 x 76 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 000 - 1 100 EUR

Wed 10 Jul

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Étude pour l'Homme au Mouton, 1967. Lithograph on Arches paper. Signed in green stamp. Edition of 200 copies on a single sheet. Deluxe edition apart from those published for the series "La Flute Double". Catalog Raissonné "Modern illustrated books", reference 8860. Measurements: 96,7 x 41 cm. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition in the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 1 000 - 1 100 EUR

Wed 10 Jul

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Suite Berlin", 1974. Lithograph on Arches paper, copy 144/150. Signed and numbered in pencil. Tàpies Galfetti II, p. 105, fig. 476. Measurements: 56 x 76 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the Grand Prix de Painting of France, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 200 - 1 500 EUR

Wed 10 Jul

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "70", 1979. Etching, aquatint, carborundum and embossed relief engraving on Guarro paper, copy 10/75. Signed and numbered in pencil. Tàpies Galfetti III, pag. 31, fig. 714 Measurements: 19 x 20,5 cm (plate); 56 x 73 cm (paper). Antoni Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the Grand Prix de Painting of France, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 200 - 1 500 EUR

Wed 10 Jul

ZAO WOU-KI (Beijing, 1921 - Nyon, Switzerland, 2013). "Zoo-4," 1986. Aquatint etching, copy H.C. 4/15. Signed and justified by hand. Measurements: 40.5 x 56 cm (print); 48 x 63 cm (paper); 70 x 86 cm (frame). Even in engravings, Zao Wou-Ki works with large masses of satin color that implode configuring germinal big bangs, sublime and primordial landscapes as in this occasion. Zao Wou Ki was born into a Franco-Chinese family and grew up in a very cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Faculty of Fine Arts in Hangzhou between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. It is Michaux who writes the catalog presentation for his first New York exhibition, at the Cadly-Birch Gallery.

Estim. 4 000 - 5 000 EUR

Wed 10 Jul

LUIS FEITO (Madrid, 1929-2021). "Composition. Lithography. Exemplary 42/99. Signed and justified in pencil. Measurements: 76 x 57 cm; 93 x 73 cm (frame). Luís Feito, born and formed in Madrid, was one of the founding members of the group El Paso. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the current avant-garde movements. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most relevant artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world.

Estim. 500 - 600 EUR

Wed 10 Jul

TERÁN (Chile, 1974). "Tribute to Banksy", Tribute to Genius Series, 2022. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 60 x 60 cm. In the catalog of the exhibition "Tribute to the Geniuses", it is pointed out that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as that of the Royal Academy of Fine Arts of Chile.

Estim. 800 - 1 000 EUR

Wed 10 Jul

TERÁN (Chile, 1974). "Tribute to Warhol", Tribute to Genius Series, 2022. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 60 x 60 cm. In the catalog of the exhibition "Tribute to the Geniuses", it is pointed out that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 800 - 1 000 EUR
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