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Tue 09 Jul

ANTONIO DE FELIPE (Valencia, 1965). "The Beatles", 2011. Fiberglass, acrylic and polyester. Signed and dated. Measurements: 217 x 212 x 103 cm. Rescuing pop icons as usual in the work of Antonio de Felipe, this monumental sculpture represents the legendary band from Liverpool. This piece stands out for its exceptional nature, as it is an unusual format in Antonio de Felipe's production. The Beatles in this work are inspired by the cover of the album "Yellow submarine", whose animated alter egos were created by the illustrator and designer Heinz Edelmann (Czechoslovakia, 1934 - Germany, 2009). Despite starting from these drawings, Felipe introduces elements such as the banana that Paul carries in his hand, or George Harrison whose costume varies widely, thus adopting the body of one of the famous "Three musicians of Picasso", currently in the MoMa collection. The Boca del Calvari Museum in Benidorm held the exhibition "Antonio de Felipe.25 years of Spanish Pop Art", where a monumental work of the Beatles could be appreciated. With a degree in Fine Arts from the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative in an advertising agency, a fact that will undoubtedly mark what will be his pictorial style in the future. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", along with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the color, garish and provocative, as well as the subject matter, very simple and direct. His facet as a creative has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as to create continuity bumpers for Telemadrid or design tableware for the firm Santa Clara. He has collaborated on posters, album covers and important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation of New Orleans, the Testimoni Collections of La Caixa, Carmen Thyssen-Bornemisza and Kneip of Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. To this national and international presence is added its participation in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg, or KIAF (Korea International Art Fair), reference frameworks to know the latest artistic trends.

Estim. 10 000 - 12 000 EUR

Tue 09 Jul

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 2005. Mixed media (oil and assemblage) on canvas. Signed and dated. Measurements: 154,5 x 120 x 5 cm. The use of assemblage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings in his last period. He returns to his informalist beginnings, but enriches them by investigating the effects of different procedures on unorthodox supports. The strong contrast between blacks, reds, and whites, curled like unleashed waves, suggest storms and other phenomena in which nature reveals itself in all its fervor. Guinovart abstracted from the observation of nature and reflection on the physical properties of painting a unique visual language. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts 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. 8 000 - 9 000 EUR

Tue 09 Jul

VIACHESLAV PLOTNIKOV (Russia, 1962). "Dreams". Oil on canvas. Signed, dated and titled on the back. On the back is a poster of the 3rd edition of Monaco Fine Arts (2006), in which this painting is reproduced. Measurements: 140 x 140 cm; 164 x 164 cm (frame). A series of views of Monte Carlo and its casino worked in grisaille (in a set of sepias that simulate reproducing old photographs) surround a central portrait in vibrant colors of a woman wearing an exuberant hat. With unusual virtuosity, the painter simulates (using entirely the oil technique) the juxtaposition of different sheets, as if they were postcards or photographs from the 1920s. The portrait shows a young woman with her shoulders covered by a sumptuous white and feathery stole. She wears her hands sheathed in long maroon leather gloves. Her long fingers fiddle with the pearls of the necklace and with the other hand she caresses the colorful feathers of the pamela. The lady's face denotes elegance: finely outlined carmine lips, languid honey-colored gaze, rosy cheekbones. Vyacheslav Plotnikov's plastic skills can be seen in each of the urban and coastal corners, as well as in the enigmatic portrait. The portrayed woman embodies the sophistication of the glamorous city of Monte Carlo in the 1920s, which is the date shown in one of the oil photographs of the casino. Vyacheslav Plotnikov is a painter based in Monaco, profusely awarded with prizes and exhibitions. He is included in collections in Monaco and France. He is a member of the Monegasque National Committee of L'A.I.A.P., U.N.E.S.C.O. Sous le haut patronage de S.A.S. le Prince Souverain Albert II He trained at the Academy of Fine Arts, Rome (1994-1995) and at the Academy of Art Shtutgardt, Germany (1993). Previously, at the Moscow State Art Institute "Surikov" (student of Professor Ilia Glasunov, specialty "Portrait", 1987-1993). Selected exhibitions: 2017 ,December 4-6 - Miami River Art Fair, Nina Torres Fine Art Gallery, Miami, USA 2017,December Monaco Auction , Accademia Fine Art Gallery, Monte-Carlo, Monaco 2017,January Monaco Auction, Accademia Fine Art Gallery, Monte-Carlo, Monaco 2016,December- Miami River Art Fair 2016, Nina Torres Fine Art Gallery, Miami, USA. 2016,June- Monte-Carlo Hotel des Ventes Auction, Monaco 2015,December- Miami River Art Fair 2015, Nina Torres Fine Art Gallery, Miami, USA 2015,June- Monaco Auction, Accademia Fine Art Gallery, Hotel Metropole, Monte-Carlo, Monaco. 2015 - Exhibition at Alexander Art Group International Gallery, Monte-Carlo, Monaco 2015,May- Auction "AmberLoungeFashion", Hotel Meridien, Monte-Carlo, Monaco 2014,December- BDN2014 Christmas Ball Auction, Monte-Carlo, Monaco 2014,December 13- Auction Hotel des Ventes de Monte-Carlo, Monaco 2014, December 4-7- Miami River Art Fair 2014, Nina Torres Fine Art Gallery, Miami ,USA 2014 ,August 2 - Russian Auction , MC FINE ARTS Gallery, Hotel de Monte-Carlo Bay, Monaco 2014 Permanent Exhibition , Saint Paul de VenceGallery, France 2014- Russian Auction, Hotel de Paris, MC Fine Arts Gallery, Monte-Carlo, Monaco 2013, December Auction Hotel de Paris, Accademia Fine Arts, Monte-Carlo, Monaco 2013, October Auction Hotel de Paris,Accademia Fine Arts, Monte-Carlo, Monaco.

Estim. 8 000 - 10 000 EUR

Tue 09 Jul

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1995. Mixed media (oil, matter, plate, chickpeas, charcoal, waxes) on canvas. Signed and dated in the lower right corner. Measurements: 76 x 94 cm; 73 x 83 cm (frame). In the painting of Guinovart always had an indelible impression aspects of his biography linked to the hardships of the civil war. The grains of wheat and chickpeas that he incorporates in his works, not only in his informalist period, but also in later paintings such as the one we are dealing with, respond to the persistence in his memory of what it meant to emigrate with his family to a small town in Lleida to take refuge from the war. The products and utensils of the land will be treated as symbols of resilience and hope in unfavorable contexts. At the same time, experimenting with these extra-artistic elements will give him a prominent place in the heart of material informalism. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He immediately 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. 6 000 - 8 000 EUR

Tue 09 Jul

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1997. Mixed media on táblex. Signed and dated in the lower left corner. Measurements: 50 x 60 cm; 73 x 83 cm (frame). In the nineties, when Guinovart already had a fruitful career behind him, his painting freed itself more than ever from adherence to specific avant-garde movements or styles. In the work shown here, stains and textures skilfully distributed suggest a human face in profile, captured more as absence than presence: as if its spectral nature left an ineffable trace on the material. The latter is treated as a signic palimpsest. 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 immediately 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. Around 1957 he began an informalist and abstract tendency, with a strong material presence, both through the incorporation of various elements and objects (burnt wood, boxes, waste objects) and through 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. 4 000 - 5 000 EUR

Tue 09 Jul

EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003). "Embrace, 1997. Silkscreen on paper, copy 74/75. Signed, dated and justified by hand. Measurements: 76 x 57 cm; 94 x 75 cm (frame). Following his particular aesthetic, Úrculo composes his works through enigmatic objects and indeterminate, anonymous figures, which, distantly inspired by fashion illustrations and art deco posters, evoke a whole range of the contemporary popular imaginary. Painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began painting as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly after, he moved to Madrid and began taking classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence made his painting evolve towards abstraction. However, four years later he returned to figuration and social criticism. In 1967 he made a trip to Northern Europe, and it was then that he first came into contact with American pop. From then on, Úrculo's work will be marked by a realism based on a very vivid coloring and, well into the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In this last period he added to his repertoire the theme of the traveler confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, among them the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.

Estim. 1 800 - 2 000 EUR

Tue 09 Jul

ALEX KATZ (Brooklyn, New York, July 24, 1927). "Vincent," 1972. Lithograph on paper. Copy 50/120. Enclosed certificate from the Composition Gallery, Georgia. Signed in the lower left corner. Measurements: 38, 1 x 53,3 cm; 73,5 x 82,5 cm (frame). In this work you can see the portrait of the artist's son who was portrayed on numerous occasions by his father. In fact, in the exhibition that the Guggenheim Museum dedicated to Alex Katz, his son, now an art critic, stated, "What's interesting, you know, being a kid and being portrayed, because you just think it's something you have to do, like, 'How long do I have to pose for this?' And he's very quick at painting. So it's a painless process at all." Alex Katz born into a Jewish family in Brooklyn, in 1928 moved with his family to Queens, where. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture, Maine. An education that proved instrumental in his development as a painter and remains a staple of his practices today. Katz explains that painting outdoors at Skowhegan gave him a reason to dedicate his life to painting. Katz's paintings fall almost equally into the genres of portraiture and landscapes. Since the 1960s he has painted views of New York (especially his immediate surroundings in Soho), the landscapes of Maine, where he spends several months each year, as well as portraits of family members, artists, writers and leading figures in New York society. His paintings are defined by their flatness of color and form, their economy of line, and their fresh yet evocative emotional detachment. A key source of inspiration is the woodblock prints produced by the Japanese artist Kitagawa Utamaro. In the early 1960s, influenced by films, television and advertising posters, Katz began to paint large-scale paintings, often with dramatically cropped faces. Most of his works depict close-ups, showing front and back views of the head of the same figure or figures looking at each other from opposite edges of the support. Since 1951, Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions throughout the United States and internationally Katz's first solo exhibition was an exhibition of paintings at Roko Gallery in New York in 1954. In 1974, the Whitney Museum of American Art showed Alex Katz Prints, followed by a retrospective exhibition of paintings and cut-outs entitled Alex Katz in 1986. Katz has had numerous retrospectives at museums including the Whitney Museum of American Art, New York; Brooklyn Museum, New York; the Jewish Museum, New York; the Irish Museum of Modern Art, Dublin; Colby College Museum of Art, Maine; Staaliche Kunsthalle, Baden-Baden; Fondazione Bevilacqua La Masa, Venice, Centro de Arte Contemporaneo de Malaga and Saatchi Gallery, London (1998). Katz's work is in the collections of more than 100 public institutions worldwide, including the Honolulu Museum of Art, Museum of Modern Art, New York, Metropolitan Museum of Art, New York; Whitney Museum of American Art, NY; Smithsonian Institution, Washington, D .C .; Carnegie Museum of Art; the Art Institute of Chicago; Cleveland Museum of Art; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Metropolitan Museum of Art, Tokyo; the Nationalgalerie, Berlin; and the Brandhorst Museum, Munich, among others. Attached is a certificate from the Composition Gallery, Georgia.

Estim. 1 200 - 1 800 EUR

Tue 09 Jul

MANOLO VALDÉS, (Valencia, 1942). "Lady of Elche". Glazed ceramic with wooden base. Measurements: 22,50 x 18,50 x 21 cm, 26,50 x 18,50 x 21 cm (with base). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by 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. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.

Estim. 2 400 - 2 600 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

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
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