13th May - Contemporary Art

Lot 1 - VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997). Untitled, 1981. Paper collage on cardboard. The authorship of this work has been confirmed by Pierre Vasarely. Signed twice in the lower right corner, dated and dedicated. Measurements: 40 x 27 cm; 60 x 47 cm (frame). Vasarely is based on the discovery that the deformation of a two-dimensional grid can generate an abstract three-dimensional landscape, with elevations and depressions, where squares are transformed into rhombuses and circles into ellipses. Thus, the illusionistic effect that combines convexity and concavity with dilation and contraction, contains a thoughtful cosmic symbolism, evoking the rhythm that is born of the stars, as well as the formation of galaxies by the expansion of the universe as a whole. Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a student of the Bauhaus. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid. The authorship of this work has been confirmed by Pierre Vasarely.

Estim. 15 000 - 18 000 EUR

Lot 2 - SONIA DELAUNAY (Odessa, 1885 - Paris, 1979). "Costume", 1922. Brush, pen and India ink on paper. Signed and dated in the lower right area. Measurements: 31 x 25 cm; 52 x 43 cm (frame). Bibliography - J. Damase, Sonia Delaunay, dessins en noir et blanc, Paris, 1978, p. 190 (illustrated on p. 112, with incorrect dimensions and dated "1926"). - E. Morano, Sonia Delauna, Art into Fashion, New York, 1986, p. 59 (illustrated). With her characteristic synthetic style in this piece Delaunay creates a figurative drawing, starring a woman. The piece in particular the clothing of the protagonist is reminiscent of some patterns that the artist made on canvas in the 1920s. Born Sonia Ilínichna Stern, Sonia Delaunay is better known by her married name, which she adopted after marrying Robert Delaunay. A French painter and designer of Ukrainian origin, she was, along with her husband, one of the main representatives of abstract art, as well as the creator of simultanism. She grew up in St. Petersburg, in contact with the collection of paintings of the Barbizon School of her uncle and with the cultural life of the city. In 1903 she moved to Germany to further her education, where she discovered contemporary painting and studied drawing with Schmidt-Reuter. Two years later he moved to Paris and enrolled in the Academie de la Palette, where he was also initiated in engraving by Grossman. During these years he approached the European avant-garde through German expressionism, with a work that also reveals echoes of post-impressionism. In 1908 he held his first exhibition, showing works from his recently initiated Fauvist period. Two years later he married Delaunay, with whom he shared aesthetic concerns. Their art then underwent a change of direction, towards abstraction. The artist will then move towards the decorative arts, always with a purely abstract colorist language that will attract the attention of her peers and also of the critics. Although in 1912 she returned to painting, her fame as a designer had already been established throughout Europe. From then on she would frequently participate in important European exhibitions, such as the Berlin Autumn Salon or the Salon des Indépendants in Paris. During the First World War she lived in Spain and Portugal, where she developed an intense creative activity, including collaboration with Diaghilev's ballet. In 1921 the couple returned to Paris, where Sonia Delaunay continued to work on important projects, in addition to exhibiting her work both in Europe and the United States. Already fully recognized from the fifties onwards, compilations of her work began to be published, and in fact in 1958 her first retrospective exhibition was dedicated to her in Bielefeld (Germany). In addition, in 1975 she was named officer of the French Legion of Honor. Currently Delaunay is represented in major collections around the world, including the MoMA in New York, the Hermitage in St. Petersburg, the Reina Sofia in Madrid, the Albertina in Vienna and Haifa in Israel.

Estim. 12 000 - 14 000 EUR

Lot 3 - JULIO LE PARC (Mendoza, Argentina, 1928). "Cercles par Deplacement" 2015. Acrylic, mirror and off-set lithograph, copy H.C. Published by MAK Editions. Certificate of authenticity attached. Measurements: 9.4 x 8 x 6.7 cm. This op-art sculpture, conceived by Argentine artist Julio Le Parc in 1965, uses a mirror and a printed side inside and is made of plexiglass. When looking at the sculpture from a different angle, the circles change color. It was produced in 2015. A multidisciplinary artist framed within kinetic art, Julio Le Parc was trained at the Prilidiano Peuyrredón School of Fine Arts in Buenos Aires, and in 1957 he begins to work within the abstract language. The following year he moved to Paris thanks to a scholarship from the French Government, and there he founded the Groupe de Recherche d'Art Visuel, as well as joining the group Nueva Tendencia. In 1966 he holds his first solo exhibition at the Sage Gallery in Howard (New York), and that same year he wins first prize at the Venice Biennale. In 1967 he took part in an important group exhibition held at the Museum of Modern Art in Paris, and in 1972 the first retrospective exhibition of his work was held in Düsseldorf. His work is currently represented in the Tate Gallery in London, the Museo Nacional de Bellas Artes and the Fundación Proa in Buenos Aires, the Luis Ángel Arango Library in Colombia and the Hirshhorn Museum and Sculpture Garden in Washington D.C., among other public and private collections.

Estim. 4 000 - 5 000 EUR

Lot 4 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1985. Mixed media (painting and collage) on paper. Signed and dated in the lower margin. Measurements: 197 x 115 cm; 207 x 126,5 cm (frame). The use of collage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings of the eighties. He moves away from the informalism of his previous period and approaches an abstraction with musical and poetic latencies. In this composition, this is expressed by the subtle suggestions of stringed instruments and calligraphic signs. 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. 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. 5 500 - 6 500 EUR

Lot 5 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Climbing", 1974. Collage, acrylic and grease pencil on canvas. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 100 x 81 cm. Ràfols Casamada spoke of his need to "break the space and recompose it by means of spots of color, distribute them almost at random and achieve, by means of color, that they are sustained and related" (Testimony of a painter, 1985). The painting shown here is an account of this search for intellectual purification. Ràfols Casamada submits the painting to an apparently random tensional game between color field, emptiness, stain and gesture. In this canvas, the lyrical abstraction throbs with impetus despite the underlying conceptual base. It echoes a happy resolution between intellectual complexity and plastic simplicity, between transcendence and immanence. Painter, pedagogue, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. The post-impressionist paternal influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the Premio de las Artes de la CEOE in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Estim. 8 000 - 9 000 EUR

Lot 6 - NICK VEASEY (London, 1962). "Peace with daisies". 2019. C-tipe print, copy 1/25. Signed and numbered in lower right corner. Label on the back. Measurements: 75 x 59.4 cm; 77 x 61.5 cm (frame). Artist and photographer initiated in the advertising field of photography, is guided by an artistic pattern closely related to science, since he creates images and photographs from X-rays in order to reach his artistic goal, the background and deepest detail of each subject. Objects, people, nature and animals have passed before his lens. The artist considers this collection to be a statement against superficiality and an invitation to rethink our perception of reality. As he states on his website: "We live in a world obsessed with the image. What we look like, what our clothes, houses, cars look like to us.... I like to counter this obsession with superficial appearance by using X-rays to peel back the layers and show what it's like underneath the surface. We all make assumptions based on the external visual aspects of our surroundings and are drawn to people and shapes that are aesthetically pleasing. I like to challenge this automatic way we react to physical appearance only by bringing out the inner, often surprising, beauty. It also makes us reflect on how society is increasingly controlled by security and surveillance. Airport checkpoints or courthouse entrances are some examples of places that x-ray our belongings. For Veasey, being able to create art with equipment and technology designed to "limit our freedom" is a mode of transgression. In 2009 he began exhibiting for Maddox Fine Arts in London, and subsequently toured Europe, North America and Asia. He is the recipient of numerous photographic and design awards, including the IPA Lucie Awards, AOP, Graphis, Communication Arts, Applied Arts, PX3 and D & AD awards which are also nominated for the IPA Lucie International Photographer of the Year 2008.

Estim. 4 500 - 5 000 EUR

Lot 7 - KEITH HARING (Pennsylvania, 1958- New York, 1990). "Self portrait", 1987. Ink on paper. Features Tony Shafrazi Gallery label with Stock #1435 exempt to framing. Framed with museum glass. Signed and dated on the right side. Measurements: 26 x 32.5 cm; 43 x 49 cm (frame). Keith Haring portrayed himself on numerous occasions always with his iconic glasses as a seal of identity. In these self-portraits the artist offered a vision of himself, not only physical but also personal, thus revealing his opinion of himself to the viewer, as can be seen in the self-portrait as a sphinx. In this particular case it is not a single self-portrait but two, as he shows us his own bust being painted by one of his iconic monigots that are an alter ego of the artist himself. Considered as the visible head of urban art in the eighties, Haring's unstoppable professional career, which led him to become Warhol's colleague and media superstar, began with his work in the New York subway. The enormous popularity of Haring's urban work among the people of New York immediately caught the attention of the art establishment. Consequently, Andy Warhol adopted him into his circle, and the then emerging gallerist Tony Shafrazi organized a resounding solo exhibition for him in 1982 that was to be the launching pad for his unstoppable success. He soon exhibited his work at the gallery of the influential Leo Castelli and established himself as a professional art star. Keith Haring was an American artist whose pop art and graffiti emerged from the street culture of New York City in the 1980s. Haring's work grew in popularity thanks to his spontaneous drawings on the New York City subway in chalk on black and white advertising space backgrounds. After achieving public recognition, he created large-scale works as murals.His later work often addressed political and social issues, especially homosexuality and AIDS, through his own iconography. Today Haring's work is divided between major private and public collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York City; Los Angeles County Museum of Art; the Art Institute of Chicago; the Bass Museum in Miami; Musée d'Art Moderne de la Ville de Paris; the Ludwig Museum in Cologne; and the Stedelijk Museum in Amsterdam. He also created a wide variety of public works, including the infirmary at Children's Village in Dobbs Ferry, New Yorkand the second-floor men's room at Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan, which was later transformed into an office and is known as the Keith Haring Room. In January 2019, an exhibit called "Keith Haring New York" opened at New York Law School in the main building of its Tribeca campus. Features Tony Shafrazi Gallery label with Stock #1435 exempt from framing.

Estim. 6 000 - 8 000 EUR

Lot 8 - PIERRE ET GILLES (France, collaborating since 1976). "Glory Hole (Charley Huet)", 1994. Painted photograph. Signed. Unique work. Measurements: 82 x 64 cm. The French artist duo Pierre et Gilles make provocative photographs in which they build their own scenographies and costumes by hand. There is no photographic retouching in them. On the contrary, they give them a unique work of art finish with paint. Gay culture and pornography are the genres in which they explore with a liberated spirit and sarcasm. On this occasion, they recreate an alleged scene from a porn movie starring Charley Huet. Pierre et Gilles are two French artists, a sentimental and artistic couple. They make unique and highly stylized photographs. Their works include images from art history, popular culture, religion and gay culture including pornography (especially James Bidgood). The way these two artists work includes setting up complex scenographies, as they hardly work with digital post-production after the shots. Part of their way of working includes elaborate lighting and scenic works, portraying the models surrounded by floral mandorlas that often refer to religious works of the past or in idyllic and imaginary scenarios. Later, they work the photographs with acrylic paint to retouch the images and give them an original finish. Among his favorite themes are religious and mythological themes, as well as homoerotic scenes (some examples refer to the ocean and sailors, having developed a book on this subject called "Sailors and Sea"). Undoubtedly, his works can be included within the kitsch movement expressed in a conscious way, being also influenced by the world of pop culture. The celebrities photographed by Pierre et Gilles include: Amanda Lear (the cover of her 1980 album, Diamonds for Breakfast, one of his first commissions), Lio, Khaled, Étienne Daho, Marie France, Mikado, Marc Almond, Leslie Winer, Marilyn Manson, Madonna, Kylie Minogue, Erasure, Deee-Lite, The Creatures, Nina Hagen and Coco Rosie (the cover of her 2007 album, The Adventures of Ghosthorse and Stillborn); model Naomi Campbell, actresses Tilda Swinton and Catherine Deneuve, actors Jérémie Renier and Layke Anderson as well as designers Jean-Paul Gaultier and Paloma Picasso. His work is part of the collections of the Centre Pompidou in Paris.This lot is only accessible if you are logged in, and if your age matches your ID.

Estim. 90 000 - 100 000 EUR

Lot 9 - ANTONIO VIDAL FERNÁNDEZ (Havana, 1928 - 2013) . Untitled, ca. 1960. Acrylic on masonite. Signed in the lower right corner. Attached certificate issued by the artist's granddaughter Anabelle Vidal B. Measurements: 50,8 x 41 cm. Antonio Vidal was a painter who cultivated all the variants of abstractionism: expressionism, informalism, dripping,,,, in such a way that sometimes the different abstract languages intermingled as in this painting where the lines are transformed into vectors, the circles into energetic points or black holes, and dripping coexists with gesturalism. Antonio Vidal Fernández was an important Cuban artist. He was a member of the group Los Once and a founding member of the Union of Writers and Artists of Cuba. He introduced abstract expressionism in the island, but he was not a follower of the movement, but he kept away from fashions in order to find his own way. A graduate of the Villate Academy, he received the National Plastic Arts Award in 1999. Among his personal exhibitions it is worth mentioning: In 1993 "Antonio Vidal 40 years in the plastic", Paintings and Drawings of small format. Galiano and Concordia Art Gallery, Havana, Cuba. In 1953 he participates collectively in Los 11. Painters and Sculptors. Lyceum, Havana, Cuba. In 1963 and 1965 he participates in the First and Second American Biennial of Engraving. Museum of Contemporary Art, University of Chile, Santiago de Chile. In 1966 and 1968 in the 5th and 6th International Print Biennial. Museum of Modern Art, Tokyo, Japan. In the year 2000 "Tono a tono". Abstract Art Exhibition. Solidarity Hall, Habana Libre Tryp Hotel, Havana, Cuba, among others. In 1973 his work is recognized with the Second Prize in Painting. Salon of Professors and Instructors of Plastic Arts, National School of Art (ENA), Havana, Cuba. In 1981 Mention. First National Salon of Small Format, Lalo Carrasco Salon, Habana Libre Hotel, Havana. In 1999 National Plastic Arts Award. Ministry of Culture. Founder of the Taller Experimental de la Gráfica de La Habana, in the 1960s, in which he developed a considerable number of works using the lithographic technique. At that time he made works for public places such as the mosaic murals in the Manuel Ascunce Domenech Theater in Ciudad Escolar Libertad and in the department store La Época. He taught painting classes at the National School of Art for two decades, in the 70's; and ten years later he experimented with sculpture but as an extension, a new support for his creations on canvas or paper. He also ventured into book and magazine cover designs; in 1977 he published his sketchbook Antonio Vidal -published by the editorial of the Union of Writers and Artists of Cuba-. An important part of his work is kept in the National Museum of Fine Arts, Havana, Cuba. Attached is a certificate issued by Anabelle Vidal B.

Estim. 18 000 - 20 000 EUR

Lot 10 - MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957). "Crânes Papaie", 1999. Watercolor on paper. Signed and dated in the lower area. Measurements: 56 x 76 cm; 76 x 96 cm (frame). This work demonstrates totally personal aspects of Barceló, impossible to relate to his influences or predecessors, the most outstanding of which is his break with tradition through his tireless search for new formulas and his fascination with different aspects of nature. An example of this is this watercolor, since the artist starts from the traditional "vanitas", but his technique and the tendency towards the telluric bring us closer to a completely organic image that does not transmit the fleetingness of life, but a cyclical conception of it. In this work, the Mallorcan creates a work of great expressiveness, firmly rooted in nature and archaic tradition, which at the same time reveals a surprising and brilliant modernity. A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Picarol Gallery in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovers the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as the "art brut", a style that will exert an important influence on his first paintings. During these years he reads extensively, and enriches himself with works as diverse as the writings of Breton and the surrealists, the "White Manifesto" by Lucio Fontana or the "Social History of Literature and Art" by Arnold Hauser. In 1976 he holds his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural events. In 1977 he makes a second trip to Paris, and also visits London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who will become one of his best friends in the city. Together with him and the photographer Antoni Catany he participates, as a member of the group "Neón de Suro", in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 when he received his first large-format pictorial commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sells his first works to some collectors and galleries, and finally moves to Barcelona. His international recognition begins in the early eighties, definitely boosting his career following his participation in the São Paulo Biennial (1981) and the Documenta de Kassel (1982). In 1986 he was awarded the National Prize for Plastic Arts, and since then his work has received numerous awards, such as the Prince of Asturias Award for the Arts (2003) and the Sorolla Prize from the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, etc.

Estim. 18 000 - 20 000 EUR

Lot 11 - CÉSAR MANRIQUE CABRERA (Lanzarote, 1919 - 1992). "After the rain", 1980. Mixed media (with addition of matter) on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 50 x 61 cm; 70 x 81 cm (frame). Painter, sculptor and architect, Manrique was formed between Lanzarote and Madrid, where he studied at the Escuela Superior de Bellas Artes de San Fernando. In 1942 he made his individual debut in Lanzarote, and during the fifties, with the rise of surrealism, he founded the Fernando Fe gallery, the first non-figurative gallery in Spain. During these years he painted several murals in Lanzarote and exhibited his work in several countries. In 1964 he moved to New York where he exhibited, among others, at the Catherine Viviano Gallery. Two years later he settled definitively in Lanzarote where, together with the architect Fernando Higueras, he undertook various projects on the island. In 1992, a few months before his death in a traffic accident, the Foundation that bears his name was inaugurated in Lanzarote. His artistic work earned him awards such as the Gold Medal of Fine Arts (1980), the Goslarer Monchenhsus Prize in Germany (1981), the Van D'Aheod Prize in the Netherlands (1982) and the Fritz Schumacher Prize in Hamburg (1989), among others. He is currently represented in the Museo de Arte Abstracto Español and the Centro Atlántico de Arte Moderno, among other centers and collections. In his work, both pictorial and sculptural and, above all, architectural, Manrique enters into dialogue with the roots of the Canary Islands, with the Guanche culture, with its traditional constructions, its landscape, its folklore, its pre-Hispanic art. In this piece he pays homage to all that legacy, in a work where matter, which refers to the earth, to the volcanoes, to the fire that "built" and defined the island of Lanzarote, is an essential part.

Estim. 7 000 - 8 000 EUR

Lot 12 - DAVID LACHAPELLE (Hartford, Connecticut, 1963). "Awakened Series Jonah" 2007. Digital photograph, copy AP 3/3. Signed on the back. Measurements: 152.4 x 114.3 cm; 154 x 116 cm (frame). With his "Awakened" series, LaChapelle set a new direction for his work. Inspired by the biblical narrative, he takes anonymous people playing the role of biblical characters (here we show the figure of Jonah), immersed in water, in a state of levitation. The beautiful lighting, their expressions, the weightlessness of the clothes, all contribute to introduce the viewer into a welcoming mystical dimension. These works confirm LaChapelle's deep connection with the transcendental, with the presence of the divine in the everyday and with the idea of the sublime. LaChapelle's career began in a significant way in the year 1982, when Andy Warhol prompted him to publish his photographs "Interview". "Andy Warhol corresponds perfectly to his time," says the photographer, "He is without a doubt a great artist of the 20th century. He was very generous and I learned a lot from him, but we belong to two different generations and have different ideas. The most valuable art today is that which manages to clarify the time in which we live, and that's what I try to do." David LaChapelle's wacky, bizarre and fantastic images have appeared on the pages and covers of Vogue, Rolling Stone, i-D, Vibe, Interview, The Face and GQ magazines, just to name a few. His style is unique and recognizable, he works with open shots, fresh and extremely colorful scenes showing his pop-art style. His shots have a meticulous and detailed work, working with the physical aspect of the character taking it almost to caricature. "I try to take pictures that I've never seen before," LaChapelle says. Talented creative, he plays with fictitious and grotesque scenes, mostly artificial and has an excellent production, the images are generally at the time of shooting, with little post-production. We can also see in his work the criticism of the society in which we live full of excesses and vanity. His unconditional dedication to originality is legendary in the world of fashion, film and advertising. LaChapelle has participated in advertising campaigns for a variety of clients including L'Oreal, Iceberg, MTV, Ecko, Diesel Jeans, Sirius, Ford, Sky Vodka, Cervecería Cuahtemoc Moctezuma and the Got Milk? campaign. David has photographed numerous album covers for artists such as Macy Gray, Moby, No Doubt, Whitney Houston, Elton John, Christina Aguilera, Madonna and Kylie Minogue. His successful first book, LaChapelle Land, was published in 1996 by Collaway Publishing, bringing within its extravagant packaging, an explosive collection of portraits of celebrities and models, including Lady Gaga, Madonna, Shakira, Leonardo DiCaprio, Pamela Anderson, Uma Thurman, Marilyn Manson, Mark Wahlberg, Drew Barrymore and Elton John. The successor to this debut was the book Hotel LaChapelle, also published by Collaway in 1999, which showcases fresh images with unforgettable colors. LaChapelle continues to achieve photographs that confront our visual tastes, taking a fresh look at today's landscape.

Estim. 28 000 - 30 000 EUR

Lot 13 - JOSE SOLLA (Havana, 1909). "Door", 2003. Oil on canvas. Signed and dated in the lower corner. Measurements: 38 x 46 cm; 55 x 63 cm (frame). Practically all his artistic career has been spent in South America, where he lived since 1950, although he returned to Galicia in the eighties, has held several exhibitions that confirmed a painter curdled, imaginative, lyrical, erotic at times, excellent connoisseur of the best European tradition and Hispanic American indigenous art, which has absorbed to give it a very personal expression. José Solla studied at the Escuela Superior de Artes Visuales Martín A. Malharro, with Professor Demetrio Urruchúa, teacher of so many excellent artists of Galician origin. He made his first exhibition in 1964. He participated in the Biennials of Pontevedra in 1973, 1974 and 1976. In the second international edition of this important contest he won the Gold Medal. Other awards were won by Solla in Caserta, Italy; in Buenos Aires, Mar del Plata and Salta, Argentina. The exhibition that confirmed his status as a highly personal and accomplished painter was held at the Caixavigo Cultural Center in 1990, as part of the Great Galician Artists series. He is represented in museums in South America, Brazil, Mexico, Chile, the United States, Italy, and in the museums of Pontevedra and Vigo. Solla is both lyrical and expressionist. His landscapes, usually marine, more intuitions than representations, are of an exquisite lightness, dancing, of very thin material and felt as a mural. The compositions of figures, on the other hand, are baroque, variegated, with a strong erotic charge and a world of grotesque, of course deliberate. He relies on a drawing of great fluency, which allows him surprising complexities, with evasions to the oneiric. Imaginary beings, inspired by pre-Columbian mythologies, populate ideal spaces and are like transnations in which the dreamy, evocative Galician that Solla has carried inside him since his childhood, looking at the Pontevedra estuary, is finally present. He is a consummate watercolorist, of direct graphics in the stain, capable of creating ideal worlds in which there are totemic birds and winged beings that wander through spaces suggested by an overflowing imagination. A multiform painter, unmistakable, attractive, of very well done work, because he knows how to restrain the torrent of his imagination to settle it in different areas, where the grotesque is humanized and the human overflows in unpredictable mythologies.

Estim. 2 000 - 2 500 EUR

Lot 14 - MARCELLO TROTTER (Italy, 1977). "Black Angel", 2008. Mixed media on canvas. Signed, dated and titled on the back. Size: 162 x 120 cm. In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in its colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition but going beyond it, indicating to the spectator that we are dealing with forms, ideas or suggestions that go beyond the frontiers of the purely pictorial.

Estim. 1 400 - 1 600 EUR

Lot 15 - PAT ANDREA (The Hague, The Netherlands, 1942). "Lesbos". Charcoal and colored pencils on paper. Signed in the lower margin. Measurements: 48 x 39 cm; 82,5 x 72,5 cm (frame). Son of a plastic artist and an illustrator, Pat Andrea was trained at the Royal Academy of Fine Arts in The Hague. Together with the artists Walter Nobbe and Peter Blokhuis he formed the ABN group, which became known as the New Hague School. In 1976, after his first exhibition in Paris, he traveled to Latin America, a place that notably changed his way of working, beginning to develop the figurative compositions that we know, of greater strength and formal tension than his previous works. In 1977 Jean Clair invited him to participate in the exhibition entitled "New Subjectivity", which took place at the Autumn Festival in Paris. From then on he would be known as a representative of this artistic current that draws from the new figuration, the second German expressionism or surrealism. Pat develops a work in which he captures the horrors and phobias of the war between the male and female sex, starring characters who have lost their psychological balance and are torn between tenderness and violence, all through a grotesque expressionism in which synthesized forms and flat colors prevail. Between 1983 and 1989 he combines his stays in Buenos Aires with periods in Europe, specifically in the cities of The Hague and Paris. During the 90's he exhibited at the Balducci-Daverio Gallery in New York, and in 1998 he was appointed professor at the National School of Fine Arts in Paris, where he has lived with his family ever since.

Estim. 2 500 - 3 000 EUR

Lot 16 - RAMÓN HERREROS (Barcelona, 1947). "El lugar de la feliz llegada 2", 2007. Mixed media on canvas. Signed, titled and dated on the back. Measurements: 150 x 150 cm. This work is a gamble, a provocation, however, -the woman, the nude- has been one of the traditional motifs of classical painting. We would have to ask ourselves then about the reasons why Herreros returned to this theme. This painting by Ramón Herreros is the image of desire, a glow on the horizon that no gesture captures and no word defines. Ramón Herreros studied at the Massana School in Barcelona, the Cercle de Sant Lluc and the Tàrrega Academy. He was also part of the first graduating class of the EINA design school. In 1967 he formed Equip A together with Tornabell, Jubany and Morera, with whom he worked until the early seventies. He held his first solo exhibition at the Ciento gallery in Barcelona in 1982, where he continued to exhibit regularly, and since then he has shown his work in Madrid, Paris, Freiburg and other European cities. In 1997 a large retrospective exhibition was dedicated to him at the Palacio de Sobrellano, in Comillas. He is currently represented in various museums and private collections.

Estim. 3 500 - 4 000 EUR

Lot 17 - XAVIER CORBERÓ OLIVELLA (Barcelona, 1935). "Ocell. 1998 Marble and stone. Measurements: 25 x 65 x 32 cm. Painter and sculptor descendant of goldsmiths, Xavier Corberó was formed in the Massana School of Barcelona, one of whose founders had been his father. After a period of studies in England, where he attended classes at the Central School of Arts and Crafts in London between 1955 and 1959, he moved to New York. In the American city he came into contact with surrealist circles. Before his trip he took part in the Hispano-American Biennial of 1955, and in 1959 he had a solo exhibition in Lausanne (Switzerland), where he spent a key period for his formation, working in the Medici foundry. During his years of studies he became acquainted with the work of Pablo Gargallo and Henry Moore, whose works greatly influenced the formation of his personal language. In 1963 he held his first solo exhibition in Munich, where he received the Bavarian Gold Medal. He returned to Spain in the mid-sixties, and in 1970 he began working in Esplugues de Llobregat, where in 1972 he founded the Centro de Actividades e Investigaciones Artísticas de Cataluña. He currently alternates his activities as a sculptor and painter with those of jewelry designer and interior decorator. Corberó took part in several European group exhibitions and in the Salones de Mayo in Barcelona, where he was awarded the Manolo Hugué (1960) and Ramon Rogent (1961) prizes. He has also exhibited in Germany, the United States and Japan, and between 1966 and 1968 he published a series of etchings and lithographs. In the early nineties he played an important role as advisor to the Barcelona City Council in the selection of works by internationally renowned artists to be placed in the streets and squares of the city in preparation for the 1992 Olympic Games. He was also chosen to design the Olympic medals. That same year, 1992, he was awarded the Cross of Sant Jordi by the Generalitat de Catalunya. Corberó is represented in the MoMA in New York, the Stedelijk in Amsterdam and the Victoria & Albert in London, among other important collections.

Estim. 1 600 - 1 800 EUR

Lot 18 - XAVIER CORBERÓ OLIVELLA (Barcelona, 1935). Untitled. 1998 Marble and stone. Measurements: 53 x 57 x 26 cm. Painter and sculptor descendant of goldsmiths, Xavier Corberó was formed in the Massana School of Barcelona, one of whose founders had been his father. After a period of studies in England, where he attended classes at the Central School of Arts and Crafts in London between 1955 and 1959, he moved to New York. In the American city he came into contact with surrealist circles. Before his trip he took part in the Hispano-American Biennial of 1955, and in 1959 he had a solo exhibition in Lausanne (Switzerland), where he spent a key period for his formation, working in the Medici foundry. During his years of studies he became acquainted with the work of Pablo Gargallo and Henry Moore, whose works greatly influenced the formation of his personal language. In 1963 he held his first solo exhibition in Munich, where he received the Bavarian Gold Medal. He returned to Spain in the mid-sixties, and in 1970 he began working in Esplugues de Llobregat, where in 1972 he founded the Centro de Actividades e Investigaciones Artísticas de Cataluña. He currently alternates his activities as a sculptor and painter with those of jewelry designer and interior decorator. Corberó took part in several European group exhibitions and in the Salones de Mayo in Barcelona, where he was awarded the Manolo Hugué (1960) and Ramon Rogent (1961) prizes. He has also exhibited in Germany, the United States and Japan, and between 1966 and 1968 he published a series of etchings and lithographs. In the early nineties he played an important role as advisor to the Barcelona City Council in the selection of works by internationally renowned artists to be placed in the streets and squares of the city in preparation for the 1992 Olympic Games. He was also chosen to design the Olympic medals. That same year, 1992, he was awarded the Cross of Sant Jordi by the Generalitat de Catalunya. Corberó is represented in the MoMA in New York, the Stedelijk in Amsterdam and the Victoria & Albert in London, among other important collections.

Estim. 1 600 - 1 800 EUR

Lot 19 - MANUEL SOLÀ MORENO (Barcelona, 1950). Untitled. Wrought iron and rope sculpture. Signed. Measurements: 150 x 120 x 21 cm. Manuel Solà was formed in the School of La Lonja of Barcelona, and immediately after finishing his studies he was awarded the X Prize of Young Painting of the Parés room of Barcelona (1968). He made his individual debut the following year, with two exhibitions of paintings and drawings at the Municipal Museum of Mataró and at the Ateneo Barcelonés. At this time he is awarded the silver medal in the painting contest "El Correo Catalán" (1971). He continues to show his work in Catalonia, and in 1976 he participates for the first time in a collective exhibition abroad, in the French city of Toulouse. That same year he enters the Institut del Teatre de Barcelona to broaden his training. From the nineties onwards he will take part in collective exhibitions outside Spain and biennials such as the one in Alexandria, where he will obtain the jury's prize (1999). Gradually he will abandon painting and will opt for the sculptural language, a field in which he will make several monumental works in various parts of Spain. He is represented in the Col-lecció Testimoni of La Caixa, among other important art collections.

Estim. 2 000 - 3 000 EUR

Lot 20 - MANUEL SOLÀ MORENO (Barcelona, 1950). "Caixa d'estels". 1997. Wrought iron sculpture, painting, rope and bronze. Measurements: 54 x 38 x 14 cm. Manuel Solà was formed in the School of La Lonja of Barcelona, and immediately after finishing his studies he was awarded the X Prize of Young Painting of the room Parés of Barcelona (1968). He made his individual debut the following year, with two exhibitions of paintings and drawings at the Municipal Museum of Mataró and at the Ateneo Barcelonés. At this time he is awarded the silver medal in the painting contest "El Correo Catalán" (1971). He continues to show his work in Catalonia, and in 1976 he participates for the first time in a collective exhibition abroad, in the French city of Toulouse. That same year he enters the Institut del Teatre de Barcelona to broaden his training. From the nineties onwards he will take part in collective exhibitions outside Spain and biennials such as the one in Alexandria, where he will obtain the jury's prize (1999). Gradually he will abandon painting and will opt for the sculptural language, a field in which he will make several monumental works in various parts of Spain. He is represented in the Col-lecció Testimoni of La Caixa, among other important art collections.

Estim. 800 - 1 000 EUR

Lot 21 - MICHAEL BEVILACQUA (USA, 1966). Untitled.2008. Mixed media on cardboard. Signed on the back. Measurements: 120 x 88 cm; 137 x 105,5 cm (frame). Bevilacqua lives and works in New York. He studied at Long Beach State University, Santa Barbara City College, and Cambridge College of Art and Technology in the United Kingdom. Bevilacqua's style is influenced by pop and color field paintings. He is known for combining high and low cultures through elements of painting, drawing, graphic design, animation and collage while working with a saturated palette, covering his lustrous canvases with logos and doodles. His mixed media serves as a platform to expose his cultural preferences such as his favorite bands, clothing brands and racing cars. He has had many international exhibitions, including solo exhibitions in Beijing, Copenhagen, Milan, Tokyo, Madrid, Paris, Barcelona and New York; and group exhibitions at the Palais de Tokyo, Paris; Deste Foundation, Athens; the Phoenix Art Museum, Phoenix; and The Aldrich Museum of Contemporary Art, Ridgefield. His work is part of many collections including the Mitsuni Collection, Tokyo; San Francisco Museum of Modern Art, San Francisco; Deste Foundation, Athens; Astrup Fearnley Museum, Oslo; The Whitney Museum of American Art, New York; and the Dallas Museum of Art, Dallas.

Estim. 3 000 - 3 500 EUR

Lot 22 - SONIA MENNA BARRETO (Sao Paulo, Brazil, 1953). "Balloon", 2023. Polychrome bronze. Exemplary 2/50. Certificate of authenticity attached. Signed and justified. Measurements: 21 x 18 cm; 5 x 17 x 7 cm (boat). This sculpture is presented by the artist as a naive game, since a boat hangs from a balloon. Despite its fun and candid appearance, the work awakens deeper values related to childhood, innocence and weightlessness. In his works he defines a space populated by a multitude of anthropo- and zoomorphic figures, surrounded by everyday objects, without respecting even the most basic principles of perspective. The result is ideo-universes that engulf the viewer. In 1980, Sônia Menna Barreto began to attend the studio of the artist Luiz Portinari, brother of Cândido Portinari, at the Cândido Portinari Arts Center. During this period, she got to know the artistic life. After coming into contact with the works of Max Ernst, De Chirico, Magritte and Paul Delvaux, Sonia's work took the direction of surrealism. This phase was decisive for her career, beginning to develop her intimate and creative side, solving technical and thematic problems on her own without the supervision of teachers. In October 2002, for the first time a Brazilian work became part of the Royal Collection, belonging to the British Royal Family.

Estim. 1 600 - 1 800 EUR

Lot 23 - IRATXE ARTETA (Madrid, 1976). "Sapphire", 2024. Oil on canvas. Attached certificate of authenticity issued by the artist. Signed in the lower right corner. Measurements: 100 x 100 cm; 105 x 105 cm (frame). A soft and vaporous brushstroke defines this conceptual image, reminiscent of the atmospheric quality captured by the master Zóbel. The author retains a certain vibration in the stroke, which denotes the transmutation of a changing reality, immersed in a completely personal atmosphere, which stands out for its lyricism and poetic aesthetics in the form of artistic synesthesia. Iratxe Arteta began her professional career as an illustrator and realist painter, but it is abstract art that has allowed her to transmit the depth of her art and her soul. She is a versatile and persevering artist who creates works with great artistic quality and harmony. Arteta comes from a family of great painters such as Félix Arteta and Aurelio Arteta, winner of the National Painting Prize; some of her works can be admired in the Reina Sofía Museum and the Bilbao Fine Arts Museum. In her exhibitions you can admire works that reflect Iratxe's love for abstract painting and nature, with subtle, delicate and elegant pieces, sometimes textured, and in which light acquires an important role. Certificate of authenticity issued by the artist is attached.

Estim. 2 000 - 2 500 EUR

Lot 24 - CARMEN CALVO (Valencia, 1950). "It was an inner sea where it ended", 2004. Mixed media and collage on paper. Signed and dated in the lower right corner. Measurements: 76 x 56 cm; 94 x 74 cm (frame). The transgressive character and at the same time full of a great poetic charge of Carmen Calvo can be appreciated in each of her works that link with the image of order and accumulation associated with the artist. One of the passions of the artist Carmen Calvo is to stroll through flea markets and leaf through old albums in search of old photographs to intervene, thus offering a renewed vision of the ancient anonymous snapshots taken in the past. Unknown characters, often in group photographs, transform their identity through the inclusion of masks and other surreal elements. Carmen Calvo studied at the Schools of Arts and Crafts and Fine Arts in Valencia, and graduated in advertising in 1970. She would later broaden her training thanks to scholarships from the Ministry of Culture (1980), the Casa de Velázquez in Madrid (1983-85) and the Ministry of Foreign Affairs, for her residence in Paris (1985-92). During these years Calvo began to be recognized, receiving distinctions such as the I LaSalle Seiko Painting Prize of Barcelona (1985), the Alfons Roig of the Diputación Valenciana (1989), a scholarship in the I Biennial Martínez Guerricabeitia of the University of Valencia (1989), and the selection for the XLVII Biennial of Venice (1997). The artist had begun her exhibition activity in 1969, taking part in a group show held at the Círculo Universitario de Valencia. She made her individual debut in 1976 at the Temps gallery in her native city, and since then she has shown her work individually in various cities in Spain and the United States, as well as in other countries in Europe, America and Africa. Works by Carmen Calvo can currently be seen in art institutions, museums and private collections all over the world, including the Guggenheim Museum in New York, the Reina Sofia in Madrid, the Marugame Hirai in Kobe, the MACBA in Barcelona, the Fonds National d'Art Contemporain in Paris, the IVAM in Valencia, the Chase Manhattan Bank collection in New York, etc.

Estim. 3 000 - 4 000 EUR

Lot 25 - URBANO LUGRÍS VADILLO (Vigo, 1942-2018). "View of La Coruña". Oil on board. Signed and dated in the lower margin. Measurements: 65 x 43 cm; 70 x 50 cm (frame). Urbano Lugris began his artistic training under the influence of Nacho Viéitez, a man whose purpose was to encourage the practice of painting in the new generations. He abandoned his studies as a mercantile expert in La Coruña to move to Madrid in 1930, where he joined the Pedagogical Missions, with which he toured several Spanish cities designing costumes and sets for the theater La Barraca. During this period he met Federico García Lorca and Rafael Alberti. During the civil war he participated as a volunteer in the republican army, leaving for the Asturias front. After the end of the war in 1954 he founded in La Coruña the magazine Atlántida, with his friends Mariano Tudela and José Mª de Labra, in which he actively participated, writing articles and poems, as well as numerous illustrations and designing the front cover. In 1965 he moved to Vigo where he died on December 23, 1973. In 1997 the largest exhibition dedicated to Urbano Lugrís, curated by Rosario Sarmiento and Antón Patiño, was held at the Círculo de Bellas Artes in Madrid and at the Auditorio de Galicia in Santiago de Compostela. On the occasion of this exhibition, an important book-catalog of the exhibition was published, as well as a facsimile of the magazine Atlántida. In 2007 the book by Antón Patiño Urbano Lugrís, "Viaje al corazón del océano" (Journey to the heart of the ocean) was published. Lugrís was an almost self-taught painter whose pictorial work reflects a predilection for marine themes, portrayed with an atmosphere of dreamlike and idealized character. His pictures are almost always painted on board in small and medium formats. He was influenced by his godfather, the writer Francisco Tettamancy y Gastón and by concepts of Italian metaphysical painting, especially Carrá and Chirico, and French surrealism, the paintings of Tanguy and Magritte.

Estim. 2 400 - 3 200 EUR

Lot 26 - SOLEDAD PENALTA (Noia, A Coruña, 1943). "Torch. Iron. Unique piece. Signed. Measurements: 194 cm (height). Sculptural piece with flaming top, emulating a torch. Soledad Penalta is a Galician sculptor with a wide exhibition and training career. These include from the School of artistic trades of A Coruña, which she completed until 1980 with ceramic sculpture workshops, majolica and stoneware in Barcelona, Girona, Sargadelos (Lugo) or Alicante, and courses in the following decade in the castle of Soutomaior/Pontevedra, and Faenza/Italy, with Emidio Galasi. In his plastic path, learning is a motto, until he finds his most personal expression, passing through polychrome ceramics of notable dimensions on metallic frames, with which he obtains his first prizes. It is his expression always conceptual, to show, already with iron and steel cut-ten, realistic allusions in both monumental sculpture and medium-sized, from the first exhibitions in Noia, 1981, and those that followed in A Coruña, Ateneo de Ourense, and Ferrol. The family move to Minnesota / USA, in the years 1989-1991 was a decisive change, working in the Studio Art of the University with Wayne Potratz, Nick Legeros, Roger Junk and Andy Richars, returning the following year with a scholarship for further training. With ceramics as an exhausted avenue, she focuses on iron as the preferred plastic element, a material with which she has defined her character, making the guild respect her. The Guardians of the sculpture park of the Tower of Hercules (A Coruña), and the work of Praia Ladeira, Baiona, both in steel cor-ten speak, steel that bends or extends sufficiently to show suggestive iconic forms, as shown in Malaga, A Coruña, Vigo, in the itinerant exhibition of the CaixaGalicia Foundation through the Galician capitals, the collective exhibitions in Minnesota and the tributes (Fernando Mon, Laureano Álvarez) and Awards (Isaac Díz Pardo), participating with a monumental work in "Galicia Terra Única", A Coruña, 1997.

Estim. 2 500 - 2 700 EUR

Lot 27 - TAKASHI MURAKAMI (Tokyo, 1962). "Flowers, multiverse. 2023. Silkscreen, copy 111/300. Signed and justified. Measurements: 71 cm. diameter. Takashi Murakami's floral compositions are now iconic in the contemporary art world. Inspired simultaneously by elements of traditional Japanese art and Western pop culture, they immerse us in vibrant and playful parallel universes ("mutliverses"). One of the most influential artists of the Japanese post-war generation, Takashi Murakami trained at the National University of Fine Arts and Music in Tokyo, where he graduated with a degree in Nihonga (traditional Japanese painting). In 1990 he was introduced to contemporary art by his partner and friend Masato Nakamura, and in 1993 he created his alter ego Mr. DOB. He then began to be recognised both inside and outside Japan for his particular synthesis of traditional Japanese art, the contemporary trends of his country (anime, manga, etc.) and American culture, mainly pop culture. In his work, Murakami conveys a critical vision of current Japanese society, the legacy of the country's cultural tradition, its evolution after the Second World War and its relationship with the Western world, especially with the United States. His trilogy of exhibitions "Superflat" (2000, 2002 and 2005) has been shown in major art centres around the world, such as the Parco Gallery in Tokyo, MOCA in Los Angeles, the Fondation Cartier in Paris and the Serpentine Gallery in London. Between 2008 and 2009 he was also the subject of retrospective exhibitions at MOCA, the Brooklyn Museum in New York, the Museum für Moderne Kunst in Frankfurt and the Guggenheim in Bilbao. Murakami is currently represented in leading museums around the world, including MoMA in New York, the Museum of Fine Arts in Boston and many others.

Estim. 3 200 - 4 000 EUR

Lot 28 - CARLOS CRUZ DÍEZ (Caracas, 1923-2019). Untitled, 1992, from the Suite Olympic Centennial. Silkscreen on 270 grams Vélin d'Arches paper, copy 171/250. Signed, dated and justified by hand. Measurements: 63 x 90 cm. The French-Venezuelan artist, Carlos Cruz-Diez, lived and worked in Paris since 1960. He is one of the most relevant protagonists of optical and kinetic art, an artistic current that claims "the awareness of the instability of the real". His research reveals him as one of the thinkers of color in the 20th century. The plastic discourse of Carlos Cruz-Diez gravitates around the chromatic phenomenon conceived as an autonomous reality that evolves in space and time, without the help of form or support, in a continuous present. Carlos Cruz-Diez's works are in prestigious permanent collections such as those of the Museum of Modern Art (MoMA) in New York, Tate Modern in London, Musée d'Art Moderne de la Ville de Paris, Centre Pompidou in Paris, Museum of Fine Arts in Houston and Wallraf-Richartz Museum in Cologne, among others. The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colors that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

Estim. 1 500 - 1 800 EUR

Lot 29 - JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). Untitled, 1989. Ink on paper. Signed and dated in the lower right corner. Measurements: 45 x 33 cm; 57 x 45 cm (frame). Joan Hernández Pijuan begins his formation in Barcelona, attending the Schools of La Lonja and Fine Arts of Sant Jordi, to later complete his formation in the School of Fine Arts of Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among the Spanish artists of the last decades. He began his career practicing a tragic expressionism of great social charge, and in these times he formed, together with the rest of the members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression until he adopted a geometric and calculated figuration, a style that he left behind in the following decade to focus on informalism. His exhibition activity was as wide and diverse as his own artistic creation. During his lifetime he exhibited individually 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 a major retrospective exhibition was dedicated to him at the MACBA in Barcelona, which was later shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle in Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed member of the Royal Academy of San Fernando in Madrid. In 1981 he received the National Plastic Arts Award, in 1985 the Sant Jordi Cross and in 2004 the City of Barcelona Award. He was also awarded the Prize of the General Directorate of Fine Arts at the National Exhibition of Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Biennial of Engraving in Ljubljana (1965), the International Biennial of Engraving in Krakow (1966) and the prize of the editorial office "Vijesnik u Srijedu" in Zagreb (1970). Hernández Pijuan is represented in the MACBA, the Spanish Abstract Art Museum in Cuenca, the Reina Sofía Museum in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centers such as the Guggenheim Museum in New York, the Liaunig (Austria), those of Contemporary Art of Helsinki and Luxembourg, the Kulturstiftung of Bad Homburg (Austria), the Yamaguchi Gallery of Osaka (Japan), the Palace of Fine Arts of Brussels, the National Gallery of Montreal, the Museum of Modern Art of Buenos Aires and the Sztuki Museum of Lodz (Poland).

Estim. 3 000 - 3 500 EUR

Lot 30 - PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973). "Picador", 1952. Glazed ceramic with black oxide and white glaze. Edition of 500 copies. Presents inscription. "Picasso Edition". Stamps of Picasso and Modoura on the base. Measurements: 15,3 cm (diameter). From 1947, when the artist made a great production of ceramic works in the Madoura factory in Vallauris, in the south of France, devoting himself for a whole decade exclusively to this technique. In 1952, the same year in which this piece was conceived, Picasso met Jacqueline Roque, who was beginning to work in the store of the Modoura workshop, marking a new stage in his life and his artistic work. Creator of cubism together with Braque, 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 at the café "ElsQuatreGats". 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. 2 500 - 2 800 EUR

Lot 31 - PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973). "La danse du Berger. 1959. Lithograph on paper. Work referenced in: Christoph Czwiklitzer: "Pablo Picasso. Posters 1923-1973", Deutscher Taschenbuch Verlag, München 1981, nº 368. Signed and dated on plate in the upper left area. Measurements: 59 x 41 cm; 66 x 48 cm (frame). Creator of cubism together with Braque, Picasso's painting was a turning point in the history of art. He began his studies in 1895, at the Provincial School of Fine Arts in Barcelona, and only two years later he had his first individual exhibition, at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods, developed in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Las señoritas de la calle Avinyó", and in 1909 he came into contact with Braque and began his cubist period. During the second decade he developed his classical period, and created his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". The definitive international recognition will come in 1939, as a result of the retrospective dedicated to him by the MOMA in New York. During the following decades, anthological exhibitions will be dedicated to him all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He 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. 300 - 350 EUR

Lot 32 - "dEmo"; ELADIO DE MORA (Mora, Toledo, 1960). "Rubber duck". Fibreglass, polyester and resins. Signed on the base. Measurements: 50 x 40 x 40 cm. Round sculpture in the shape of a large rubber duck. The use of an everyday object, greatly increasing its size and thus elevating it to the category of art, brings the spectator closer to a kitsch aesthetic very common in pop art.One of the great representatives of Spanish contemporary art, Eladio de Mora discovered his artistic vocation when he was a child. A fundamentally self-taught artist, his work is somewhere between pop and expressionism. His creations are characterised by simplified features and pure colours, and are made in materials such as plastic, polyester and some resins. Under the almost childish appearance of his works, sometimes critical meanings are hidden; he confesses to seeking a balance between rigour and a smile in his works. Some of his best known pieces are his series of bears, ducks, divers and meninas. In fact, his sculptures are often grouped in families, so that the repetition intensifies the impact. Also, most of his sculptures are placed outdoors, as Mora seeks above all a direct relationship with the public. He began to make himself known through group exhibitions at the beginning of the 21st century, and in 2002 he held his first solo exhibitions, both in Spain (Azteca and Séller galleries in Madrid, Espacio Líquido in Gijón) and abroad (Heyd gallery in Hildritzhausen, Germany). Since then he has been a constant presence on the art scene, continuing to exhibit individually, as well as taking part in art fairs and group shows. In recent years he has shown his work in personal exhibitions held in prominent Spanish and foreign art galleries and centres, including the Jorge Ontiveros Gallery in Madrid, the Drissien Gallery in Munich, the Florencio de la Fuente Museum in Valencia, the Contemporary Art Museum in Malaga, the Juan Ismael Art Centre in Madrid and the Juan Ismael Art Centre in Madrid, the Centro de Arte Juan Ismael in Fuerteventura, the Espacio para el Arte Caja Madrid, the Hotel Urban and the Centro de Arte Moderno also in Madrid, the IVAM in Valencia, the Museo MACAY in Mexico, the gallery Los Oficios and the Museo de Bellas Artes in Havana, the Museo Arterra in Vienna and the Fundación Antonio Pérez in Cuenca. He has also participated in important group exhibitions in Spain, Mexico, Italy, Portugal and Germany. It is also worth mentioning Mora's important work as a designer of trophies, among them the "Women Together" in New York, the "Master Senior Comunidad de Madrid" or the "Protagonistas del motor de El Mundo". Throughout his career he has received the "Getafe Ciudad de las Artes" (Madrid, 2005) and "Aura" (Toledo, 2007) awards, and has created monuments and installations in Madrid, Logroño, Havana, Vienna, Gijón, Málaga and Valencia, among other cities. Mora is currently represented in the IVAM in Valencia, the Arterra Museum in Vienna, the Domus Artium Museum of Contemporary Art in Salamanca, the Museum of Glass Art in Alcorcón, the Museum of Fine Arts in Havana, the Museum of Graphic Work in San Clemente in Cuenca, the Antonio Pérez Foundation, the Antonio Saura Foundation, the Coca-Cola Foundation and the Coca-Cola Foundation, Antonio Saura and Coca-Cola Foundations, the Provincial Councils of Cuenca and Guadalajara, several town councils in Madrid and Toledo, the Department of Culture and Tourism of the Community of Madrid, and the Contemporary Art Collection of "El Mundo", among many other public and private collections.

Estim. 3 500 - 4 000 EUR

Lot 33 - JAVIER AGUILERA (Vigo, 1968) "Once upon a time in Japan", 2008. Oil polychrome resin. Measurements: 80 x 30 x 30 cm. An oriental woman, completely naked except for her black boots, carries two transparent bags with perfume products. Her wavy and dyed hair in the western way, in addition to her operated lip and unusually large breasts for a Japanese woman, seems to speak to us of the absurd processes of acculturation that occur today due to the whims of fashion. Absurdities that Javier Aguilera highlights in his hyperrealistic sculptures that draw from comics, anime, street art and, in general, life in the big city. Javier Aguilera's sculptures stand out at first glance for their technical virtuosity, but they contain a much broader message than they apparently offer. Using the human body as an expressive vehicle and contemporary oriental symbolism, his figures confront the viewer with the dilemma of loneliness. A loneliness that in today's hyper-saturated context manifests itself, sometimes dramatically, sometimes ironically, openly showing its wounds. Beaten beings, anti-heroes who bleed, sweat and bite, questioning us about our own existence and our relationship with others.

Estim. 3 000 - 4 000 EUR

Lot 34 - JAVIER AGUILERA (Vigo, 1968) "Suicide girl", 2014. Polychrome resin. Unique piece. Signed and dated on the base. Measurements: 20 x 15 x 9 cm. Javier Aguilera's sculptures stand out at first for their technical virtuosity, but they enclose a much broader message than they apparently offer. Using the human body as an expressive vehicle and contemporary oriental symbolism, his figures confront the viewer with the dilemma of loneliness. A loneliness that in today's hyper-saturated context manifests itself, sometimes dramatically, sometimes ironically, openly showing its wounds. Beaten beings, anti-heroes who bleed, sweat and bite, questioning us about our own existence and our relationship with others. Life in the big city, street art, anime, video games and comics also play a fundamental role in the creation of his particular universe, a mixture of influences that endows his imaginary with an enormous narrative force.

Estim. 500 - 600 EUR

Lot 35 - JOAN GARCÍA RIPOLLÉS (Castellón, 1932). "Girl with butterfly". Oil on canvas. Signed and dated in the lower left corner. Measurements: 55 x 65 cm, 76 x 87 cm (frame). Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the postwar period, he entered to work in an industrial painting workshop. From then on he dedicated himself to painting at night, and later took drawing classes at the Ribalta High School in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at MACBA in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse Gallery, acquires all his work, something that will be repeated on his trip to Japan. From that moment on, he began a brilliant international career that has taken his work all over the world. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several U.S. cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés defines himself as an "immature adult" and, above all, "carefree, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

Estim. 3 200 - 3 400 EUR

Lot 36 - JOAN GARCÍA RIPOLLÉS (Castellón, 1932). "Bull. Bronze. Exemplary II/IV. Signed and numbered on the base. Measurements: 30 x 66 x 22 cm. Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he dedicated himself to painting at night, and later took drawing classes at the Ribalta High School in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at MACBA in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse Gallery, acquires all his work, something that will be repeated on his trip to Japan. From that moment on, he began a brilliant international career that has taken his work all over the world. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several U.S. cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés defines himself as an "immature adult" and, above all, "carefree, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

Estim. 3 200 - 3 400 EUR

Lot 37 - CRISTINA GARCÍA RODERO (Puertollano, Ciudad Real, 1949). "Under the rain, Georgia" 1998. Photograph b/w, copy 5/7. Signed, titled and dated on the back. Juana de Aizpuru Gallery label. Measurements: 53 x 81 cm; 86,5 x 114 cm (frame). Cristina García Rodero is a Member of the Royal Academy of Fine Arts of San Fernando and the first person of Spanish nationality to join the prestigious Magnum Agency. She is the first woman to be named Doctor Honoris Causa at the University of Castilla-La Mancha (November 14, 2018). She has held numerous exhibitions, both solo and group, in different countries. Her first solo exhibition was held in Mexico with the title Fiestas Tradicionales en España. His exhibition titled España oculta (Hidden Spain) has traveled to multiple venues: Museo de Arte Contemporáneo in Madrid, Encuentros fotográficos de Arlés, Carcassonne and Braga, Fotofest'90 in Houston, Photographers' Gallery in London, Diaframma in Milan, Photokina in Cologne, Zentrum fur Audiovisuelle Medien in Sttutgart, Münchner Stadtmuseum in Munich, Museo Álvarez Bravo in Oaxaca, Museo de Bellas Artes in Caracas and Médiathèque Centre Jean Renoir in Dieppe, among others.

Estim. 3 500 - 4 000 EUR

Lot 38 - MARK LAITA (Detroit, 1960). "County Fair Livestock Show Contestant, Sara Von Berger, Salina, Kansas, August 8, 2003 / Cajun Man with Alligator, Charles Olivier, Loreauville, Louisiana, 2003". Ed.2/6. B&W photographs on photographic paper mounted on aluminum. Signed, dated and titled on the back. Measurements 102 x 81 cm each. 116,5 x 179 cm (frame). Mark Laita is a wonderful American photographer who after several years dedicated to commercial photography has presented in recent years a series of books with his personal work. Of these, I have selected a sample of two of the most interesting: "Created Equal", from 2010 and "Serpentine", from this year. He has produced award-winning commercial work for clients such as Adidas, Apple and Mercedes-Benz. Laita's first book of non-commercial work, Created Equal, is the result of an eight-year cross-country project featuring 8×10 black and white portraits of Americans from a wide range of cultures, occupations and backgrounds. Her work has been exhibited in galleries in the United States and Europe.

Estim. 3 000 - 3 500 EUR

Lot 39 - MARK LAITA (Detroit, 1960). "Police officer/Hang", 2005/1999. Two digital photographs. Diptych, ed. 1/3. Signed, titled and dated on the back. Stamped on the back. Published work. Sizes: 145 x 116 cm; 162 x 130 cm (frame), each. Mark Laita is a wonderful American photographer who, after several years devoted to commercial photography, has in recent years presented a series of books of his personal work. Of these, I have selected a sample of two of the most interesting: "Created Equal", from 2010 and "Serpentine", from this year. He has produced award-winning commercial work for clients such as Adidas, Apple and Mercedes-Benz. Laita's first book of non-commercial work, Created Equal, is the result of an eight-year cross-country project featuring 8×10 black-and-white portraits of Americans from a wide range of cultures, occupations and backgrounds. Her work has been exhibited in galleries in the United States and Europe.

Estim. 6 000 - 7 000 EUR

Lot 40 - MARK LAITA (Detroit, 1960). "Young Man with Boom Box, Billy Monroe", Venice, California, April 26, 1999. "Sunbather, Joey Caveseno", Coney Island, New York, August 3, 2002. B&W photographs on photographic paper mounted on aluminium. Copy nº 20. Measures: 50 x 40 cm (each); 65,5 x 96 cm (frame). Mark Laita is an American photographer who, after several years dedicated to commercial photography, has presented in recent years a series of books with his personal work. Of these, I have selected a sample of two of the most interesting: "Created Equal", from 2010 and "Serpentine", from this year. He has produced award-winning commercial work for clients such as Adidas, Apple and Mercedes-Benz. Laita's first book of non-commercial work, Created Equal, is the result of an eight-year cross-country project featuring 8×10 black-and-white portraits of Americans from a wide range of cultures, occupations and backgrounds. Her work has been exhibited in galleries in the United States and Europe.

Estim. 2 000 - 2 500 EUR

Lot 41 - LEOPOLDO NÓVOA GARCÍA (Pontevedra, 1919 - Paris, 2012) "Quadrangle a relief", 1992. Mixed media on canvas. It has mounting and framing made by the author. Presents label on the back of the Alameda Gallery (Vigo). Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 61 x 82 cm; 63 x 83 cm (frame). In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its layout and colors. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thoughtful composition and experimentation, with an image of gestural character, are not limited to a composition but go beyond, indicating to the viewer that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial. A painter and sculptor with a Galician mother and Uruguayan father, Leopoldo Nóvoa emigrated to Uruguay in 1938, where he became associated with Joaquín Torres García. Settled in Montevideo, where he founded the cultural magazine "Apex", he was also a great friend of Jorge Oteiza and, once settled in Buenos Aires (1948-1957), of Lucio Fontana, who had a notable influence on his work. He finally left America in 1965 to settle in Paris with Michel Tapié, who had been impressed by his mural in the Luis Tróccoli Stadium in Montevideo. In Paris he met Julio Cortázar, who wrote a story about his work. He also founded, together with other outstanding Uruguayan and Argentinean painters, the Espacio Latinoamericano. However, he did not hold his first exhibition until 1964. This took place at the gallery of Edouard Loeb, with whom he would collaborate for many years. His work, which ranges from drawing and painting to murals and pyrography, abstractly evokes his memories of Galicia, with a language that shows references to abstract expressionism and informalism. Nóvoa was awarded prizes such as the Castelao Medal (1993), the City of Pontevedra Prize (1997) and the Premio da Crítica Galicia (2002). He is currently represented in the Abanca and Caixanova collections, among others.

Estim. 4 000 - 5 000 EUR

Lot 42 - ROGELIO PUENTE (Cuba, 1936-1996). Interior from the window. Oil on canvas. Signed in the lower right corner. Measures: 37 x 55 cm; 53 x 70 cm (frame). In a masterly play of reflections, Rogelio Puente displays a skilful and intelligent overlapping of realities and projections. Through the glass we see a shelf with pieces of porcelain and other objects from the interior of an antique shop, with paintings leaning against a sculpture of an angelote torchero playing between the real and the represented, while the facades of the adjacent buildings make us doubt whether they are reflected on the glass moon or whether they are actually on the same pavement. In addition, alongside this playful neo-baroque adventure, Puente describes every detail, every tactile quality, with a precious eagerness, making use of his skill in drawing, glazes and material treatment. Rogelio Puente Díaz de la Rocha was born in Havana into a wealthy Spanish family living in Cuba. His impeccable academic training took place in the Caribbean country, Canada and the United States. At the age of fourteen he moved definitively to Spain with his family, settling in La Coruña, where he continued his studies. He studied law in Santiago de Compostela and later completed his studies in England. He then moved to Madrid and it was there, delighting in the masterpieces that the Prado Museum unveiled to him, that his artistic interests took hold and he began to reflect seriously on the plastic solutions required for his pictorial proposals. He travelled to Italy and France in search of new artistic references, both classical and contemporary. He studied the first two years of Architecture and later four years of Decorative Arts. From 1976 onwards he begins a successful career of exhibitions and artistic prizes, starting with his participation in the Biennial of Pontevedra, held that same year. He collaborated in the National Painting Exhibition in Bilbao and in the Circulo de Bellas Artes in Madrid. He exhibited in various galleries in Galicia and in different American countries such as Brazil, Mexico, the Dominican Republic and Argentina, as well as in France and New York.Rogelio Puente is an evoker of atmospheres and a magnificent portraitist. With a serene and solid personality, he faithfully and with dignity maintained a realist line, even though he understood that he was living in the era of the awakening of Galician painting to formal innovations and to a more conceptual and committed art.

Estim. 3 000 - 3 500 EUR

Lot 43 - CARLOS MENSA CORCHETE, (Barcelona, 1936-1982). "Portrait of a woman", 1972. Oil on canvas. Signed and dated in the lower left corner. With labels of Sala Pelaires (Palma de Mallorca) and Galería Iolás-Velasco (Madrid) on the back. Reproduced in: BENEYTO, Antonio. Mensa. Contemporary Spanish artists. General Direction of Fine Arts Ministry of Education and Science. Bilbao, 1977 (with the title "Dorso")/and Catalogue of the artist's exhibition at the Sala Pelaires, with text by Mario Vargas Llosa (page 13). Measurements: 100 x 81 cm; 112.5 x 93 cm (frame). Due to its date of creation, the present work is already inserted in the best known stage of Carlos Mensa's work: the 70's meant in his career the encounter, finally in a definitive way, the encounter with his own language, very particular, and his definitive international expansion, especially in Italy, as well as the growing interest he awoke among the general public and the critics. Carlos Mensa was a self-taught painter of the twentieth century in the three fields for which he was recognized: painting, drawing and sculpture (except for some courses such as the one he took at the Royal Artistic Circle of Barcelona towards the middle of the century, or the scholarship that allowed him to go to Paris in 1966). After his journey through the Civil War, he returned to Barcelona in 1950, to devote himself to painting seven years later, after seeing an exhibition and under the impression that caused him, above all, the works of Giorgio de Chirico. Founder of Grupo Síntesis with Teo Asensio and Enrique Maas in 1961, he decided two years later to devote himself exclusively to painting. He always stood out for his particular style, totally alien to the fashions of each moment but influenced by the avant-garde that the artist wanted, so that he was not apart from modernity. His technical perfection is also frequently mentioned, with which he presents works that can be related to certain elements of Expressionism, Realism, Surrealism, with certain artists or important works of the past and, often, a fierce criticism, constantly looking for the absurd and corrosive, seeking situations of impact almost always extreme and somewhat risky, almost like allegories in images, or visual metaphors. His work has been exhibited in Milan, Paris, Rome, Palma de Mallorca, Bremen, Madrid, Barcelona, etc., and is kept in several private collections and in outstanding institutions such as the Museo Nacional Centro de Arte Reina Sofái in Madrid, the Museo d'Arte Constantino Barbella, the Musei Palazzo d'Avalos, the Museo de Arte Contemporáneo de Barcelona, etc.

Estim. 4 000 - 5 000 EUR

Lot 44 - ADD FUEL (Portugal, 1980). Untitled.2020. Gel ink on ceramic, layered. Unique piece. Signed and dated on the back. Measurements: 75,5 x 75,5 cm; 82,5 x 82,5 cm (frame). Add Fuel is the Portuguese visual artist and illustrator Diogo Machado. Graduated in Graphic Design at IADE (Institute of Visual Arts, Design and Marketing) in Lisbon, he spent some years working in design studios in Portugal, followed by an eight-month stay in Munich (Germany). Since 2007, he focuses exclusively on his artistic work. Under the full name Add Fuel to the Fire, he first created a dark but exuberant visual universe, populated by a cast of slimy, eccentric and joyful creatures, influenced by a variety of interests ranging from video games to comics, animation, science fiction, low-budget B-movies, designer toys and urban visual culture. In 2008, fascinated by the aesthetic possibilities of symmetrical patterns and tessellations, he shortened his name and began to redirect his focus towards working with and reinterpreting the language of traditional tile design, and Portuguese tin-glazed ceramic tile in particular. Effortlessly blending these two seemingly irreconcilable visual languages, his current practice seeks to combine traditional decorative elements with contemporary visual references in new forms that reveal an impressive complexity and masterful attention to detail. If, at first glance, his work in small and medium-sized tile panels, large-scale stencil-painted murals and print editions may appear to be a simple pastiche of classical formalism, closer inspection rewards the viewer with a chaotic world of unmistakably original motifs and characters brimming with irony and humor. Creating balance and harmony from symmetrical repetitions, an accumulation of layers and visual illusion techniques such as trompe-l'œil, his multi-layered patterned compositions produce a poetic rhythm that plays with the viewer's perception and (multiple) possibilities for interpretation. Exploring a wide range of manual and digital techniques in the fields of drawing, painting, ceramics and printmaking, his practice expresses a sophisticated dialogue between old and new, between heritage and modernity. In addition to the numerous public art interventions he has made in several countries, he has also exhibited his work in solo and group exhibitions at reputable galleries, such as Underdogs Gallery (Lisbon, 2017 and 2014), Saatchi Gallery (London, 2017), Nuart Gallery (Stavanger, 2017), ABV Gallery (Atlanta, 2017), Colab Gallery (Weil am Rhein, 2015), Galerie SOON (Zurich, 2013) and Pure Evil Gallery (London, 2012), and at prominent urban art events such as Nuart Festival (Aberdeen, 2017; Stavanger, 2016), PUBLIC'16 (Perth and Albany, 2016), Sacramento Mural Fest (Sacramento, 2016), Forgotten Project (Rome, 2015), Djerbahood (Djerba, 2014), and Tour Paris 13 (Paris, 2013), among many others.

Estim. 5 000 - 6 000 EUR

Lot 45 - EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003). "Los amates", 1992. Mixed media, gouache, acrylic and pastel on paper. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 130 x 122 cm; 133 x 125 cm (frame). 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. 7 000 - 8 000 EUR

Lot 46 - EDUARDO ARROYO (Madrid, 1937-2018). "Character with hat", 1982. Watercolor and ink on paper. Signed and dated in the lower margin. Measurements: 30 x 19 cm; 33 x 23 cm (frame). Painter, sculptor and engraver, Arroyo stands out as an important figure within the neo-figurativist movement. After starting his career in journalism, he began to paint in the late fifties, appearing for the first time in the Salón de Pintura Joven in 1960. At the beginning of the sixties his plastic vocabulary moved under the North American influence of pop art, and in 1964 his break with informal art became definitive. In 1982 he was awarded the National Prize for Plastic Arts, and anthological exhibitions were dedicated to him at the National Library in Madrid and the Pompidou Center in Paris. Currently, Arroyo is represented at the Museo Nacional Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, the Hirshhorn Museum and Sculpture Garden in Washington D.C. and the Museo de Arte Moderno in Lille (France), among others.

Estim. 1 200 - 1 400 EUR

Lot 47 - EDUARDO ARROYO (Madrid, 1937-2018). "Shoes, cigars and cigar", 1977. Collage on paper. Signed and dated in the lower right corner. Measurements: 40 x 50 cm; 49 x 58 cm (frame). Painter, sculptor and engraver, Arroyo stands out as an important figure within the neo-figurativist movement. After starting his career in journalism, he began to paint in the late fifties, appearing for the first time in the Salón de Pintura Joven in 1960. At the beginning of the sixties his plastic vocabulary moved under the North American influence of pop art, and in 1964 his break with informal art became definitive. In 1982 he was awarded the National Prize for Plastic Arts, and anthological exhibitions were dedicated to him at the National Library in Madrid and the Pompidou Center in Paris. Currently, Arroyo is represented at the Museo Nacional Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, the Hirshhorn Museum and Sculpture Garden in Washington D.C. and the Museo de Arte Moderno in Lille (France), among others.

Estim. 2 500 - 3 000 EUR

Lot 48 - MANOLO VALDÉS (Valencia, 1942). "Las Meninas", 1984. Rug designed by the artist. Virgin wool. 100% pure. Exemplary 82/125. It has a label on the back and a handwritten signature. Measurements: 170 x 240 cm. Manolo Valdés has made during his career exclusive designs for the realization of carpets even collaborating with the Royal Tapestry Factory. In this particular case, the carpet, which belongs to a series of 125 examples, has the design of the Valencian artist, recreated in virgin wool. The piece has the personal and irreverent style of Valdés who reinterprets the myths approaching figures such as Picasso and Velázquez, which in this work are evident through the figure of the Menina. Although the composition and aesthetics are close to the work "Dances for fear" by Paul Klee. 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, the silver medal of the II International Biennial of Engravings of Tokyo, the award of the Bridgestone Art Museum in Lisbon, the National Prize of Plastic Arts, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andres Bello in Venezuela, the award of the National Council of Monaco, the Gold Medal of Merit in Fine Arts, the Award of the Spanish Association of Art Critics and the Best Printmaking Artist Award, among others. Formally, Valdés 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 of the history of art. He 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. 2 500 - 3 000 EUR

Lot 49 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Transparency", 2004. Acrylic on canvas. Signed and dated in the lower left corner. Signed, dated and titled on the back. Measurements: 146 x 97 cm. Ràfols Casamada spoke of his need to "break the space and recompose it by means of spots of color, distribute them almost at random and achieve, by means of color, that they are sustained and related" (Testimony of a painter, 1985). The painting shown here is an account of this search for intellectual purification. Ràfols Casamada submits the painting to an apparently random tensional game between color field, emptiness, stain and gesture. In this canvas, the lyrical abstraction throbs with impetus despite the underlying conceptual base. It echoes a happy resolution between intellectual complexity and plastic simplicity, between transcendence and immanence. Painter, pedagogue, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. The post-impressionist paternal influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the Premio de las Artes de la CEOE in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Estim. 7 000 - 8 000 EUR

Lot 50 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Reflex", 1974. Acrylic on canvas. Signed and dated in the lower right corner and on the back. Measurements: 100 x 81 cm; 102,5 x 83,5 cm (frame). Ràfols Casamada spoke of his need to "break the space and recompose it by means of spots of color, distribute them almost at random and achieve, by means of color, that they are sustained and related" (Testimony of a painter, 1985). The painting shown here is an account of this search for intellectual purification. Ràfols Casamada submits the painting to an apparently random tensional game between color field, emptiness, stain and gesture. In this canvas, the lyrical abstraction throbs with impetus despite the underlying conceptual base. It echoes a happy resolution between intellectual complexity and plastic simplicity, between transcendence and immanence. Painter, pedagogue, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. The post-impressionist paternal influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the Premio de las Artes de la CEOE in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Estim. 8 000 - 9 000 EUR

Lot 51 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Casa solitària", 2000. Acrylic on canvas. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 73 x 93 cm. Ràfols Casamada spoke of his need to "break the space and recompose it by means of spots of color, distribute them almost at random and achieve, by means of color, that they are sustained and related" (Testimony of a painter, 1985). The painting shown here is an account of this search for intellectual purification. Ràfols Casamada submits the painting to an apparently random tensional game between color field, emptiness, stain and gesture. In this canvas, the lyrical abstraction throbs with impetus despite the underlying conceptual base. It echoes a happy resolution between intellectual complexity and plastic simplicity, between transcendence and immanence. Painter, pedagogue, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. The post-impressionist paternal influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the Premio de las Artes de la CEOE in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Estim. 7 500 - 8 000 EUR

Lot 52 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Signs", 1990. Acrylic on canvas. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 89 x 116 cm. Ràfols Casamada spoke of his need to "break the space and recompose it by means of spots of color, distribute them almost at random and achieve, by means of color, that they are sustained and related" (Testimony of a painter, 1985). The painting shown here is an account of this search for intellectual purification. Ràfols Casamada submits the painting to an apparently random tensional game between color field, emptiness, stain and gesture. In this canvas, the lyrical abstraction throbs with impetus despite the underlying conceptual base. It echoes a happy resolution between intellectual complexity and plastic simplicity, between transcendence and immanence. Painter, pedagogue, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. The post-impressionist paternal influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the Premio de las Artes de la CEOE in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Estim. 7 000 - 7 500 EUR

Lot 53 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Signs", 1986. Mixed media (ink and acrylic) and collage on paper. Signed and dated in the lower right corner. Provenance: CRG Gallery, New York. Measurements: 70 x 59 cm; 87 x 75 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Trained at the Escuela de Bellas Artes de San Jordi in Barcelona, Clavé was initially dedicated to advertising graphics, illustration and decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized 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 Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Estim. 7 000 - 7 500 EUR

Lot 54 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Suite Catalana, Las estampas de la cometa". Aquatint engraving, copy 3/75. Editorial Gustavo Gili, S.A., Barcelona, 1972. Signed and justified by hand. Measurements: 77 x 101 cm. Antoni Tàpies begins in the art during the long convalescence of a pulmonary disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his studies of Law 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. 1 200 - 1 500 EUR

Lot 55 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Infromal", 1987. Aquatint and carborundum in various inks (3 grays, black, beige, white), H.C. copy. Signed and justified by hand. Measurements: 82 x 69 cm; 87 x 173.5 cm (frame). The cross and the number 8, two recurring motifs in Tàpies' work, symbols of spirituality and infinity respectively, reappear in this engraving in various inks. Co-founder of "Dau al Set" in 1948, Tàpies begins 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 solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or 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. 3 500 - 4 000 EUR

Lot 56 - JORDI TEIXIDOR (Valencia, 1941). Untitled, 1978. Oil, gouache and pencil on paper. Signed in pencil in the lower middle area. Measurements: 63 x 49,5 cm; 71 x 56,5 x cm (frame). This work is made just a year before Teixidor moved to New York (1979-1982), although previously, in 1973 he had already traveled to the American city that had caused a direct impact on the development of his work. The influence of authors such as Rothko, Reinhardt and Barnett Newman influenced Teixidor's taste for formal purification of style, visible in this painting where echoes of Agnes Martin's painting can also be appreciated. Jordi Teixidor trained at the Escuela Superior de Bellas Artes de Valencia between the years 1959 and 1964, and, among other recognitions, has been elected Academician of the Royal Academy of Fine Arts of San Fernando in Madrid, and received the National Prize of Plastic Arts in 2014. One of the most prestigious Spanish abstract artists, Teixidor has exhibited individually and collectively in Europe and America mainly (Barcelona, Valencia, Madrid, Granada, Seville, San Sebastian, Vallauris in France, Dusseldorf, San Francisco, Mexico City, New York, Santiago de Chile, etc.), although also in other cities such as Moscow. In 1997 the Santa Monica Center and the Guggenheim Museum in New York dedicated an important retrospective to him. Currently, his work is preserved in numerous private collections around the world as well as in important institutions (Guggenheim Museum in New York, Museo Nacional Centro de Arte Reina Sofía in Madrid, Real Academia de Bellas Artes de San Fernando in the same city, Museo Patio Herreriano in Valladolid, Coca-Cola Foundation, Chase Manhattan Bank in New York, Fundación Juan March in Madrid, San Francisco Museum of Modern Art in California, Museo Salvador Allende in Santiago de Chile, and the Berkeley Art Museum of the University of California in the United States, among others).

Estim. 1 500 - 1 800 EUR

Lot 57 - JORGE CASTILLO CASALDERREY (Pontevedra, 1933). "Vogels", 1970, Berlin period. Oil on canvas. Signed and dated in the lower left area. With label on the back of the Levy Gallery. Measures: 150 x 150 cm. It is a painting of the Levy Gallery. This is one of Jorge Castillo's most interesting works, as it was made during the process of transition from Berlin to New York, being his first work in which the New York skyscrapers that he would later reproduce in his works appear. It is one of the most interesting works by Jorge Castillo, due to the fact that it was made during the process of transition from Berlin to New York. Ever since he was a child, Jorge Castillo has had a passion for drawing, and at the age of ten he made his first copy of Rubens with coloured pencils. According to Castillo, Rubens' painting taught him to understand the cubism of Braque and Picasso. His family emigrated to Buenos Aires the year the painter was born, but he returned to Europe in 1955. He tried to go to Paris, but due to lack of financial resources he settled in Spain. After passing through Vigo he settled in Madrid in 1955, where he soon came into contact with the art critic José María Moreno Galván, who admired his work and introduced him to Madrid's artistic circles. In 1958 he began to sell his drawings at the Biosca gallery, and the painter Antonio Saura himself bought several of them. The following year he exhibited his works on paper and watercolours at the Altamira gallery in Madrid. Little by little he began to opt for the technique of engraving, which would finally become his main means of expression, although he alternated it with painting. In 1960 he was selected for the São Paulo Biennial in Brazil. From then on he exhibited his work internationally, in galleries and museums in New York, San Francisco, Tokyo, Paris, Lisbon, Turin, Hanover, Düsseldorf and Geneva. He took part in the Venice Biennale in 1964 and 1976, and in 1970 he held a solo exhibition at the Nationalgalerie in Berlin, the first major museum exhibition devoted to a specific period of his career. He won prizes such as the International Drawing (1964) and Painting (1975) in Darmstadt, the Ciudad de Pontevedra (1994), and the Cultura Viva de las Artes Plásticas (2006). He currently lives and works in Soho, New York. Works by Jorge Castillo can be seen at the Museum of Fine Arts in Lausanne, the Juan March Foundation, the National Galleries of Edinburgh and Berlin, the San Francisco and Vitoria Museums of Modern Art, the Kunsthalle in Bremen, the Albertina in Vienna, the National Library of Spain and the Guggenheim in New York, among others.

Estim. 7 000 - 7 500 EUR

Lot 58 - JORGE CASTILLO CASALDERREY (Pontevedra, 1933). Untitled. Oil on canvas. Signed in the lower right corner. Measurements: 65 x 54 cm. Son of Spanish emigrants in Argentina, Jorge Castillo returns to Spain in 1957. He is introduced in the artistic circles of Madrid, and in 1958 he begins to sell his drawings in the gallery Biosca. Little by little, he began to opt for the technique of engraving, which eventually became his main means of expression, although he alternated it with painting. In 1960 he was selected for the São Paulo Biennial in Brazil. From then on he exhibited internationally, in galleries and museums in New York, San Francisco, Tokyo, Paris, Lisbon, Turin, Hanover, Düsseldorf and Geneva. He participated in the Venice Biennale in 1964 and 1976, and in 1970 he held a solo exhibition at the Nationalgalerie in Berlin, the first major museum show dedicated to a specific period of his career. He won awards such as the Darmstadt International Drawing and Painting Prize, the City of Pontevedra and the Cultura Viva de las Artes Plásticas. He is represented in the Museum of Fine Arts of Lausanne, the Juan March Foundation, the National Galleries of Edinburgh and Berlin, the Museums of Modern Art of San Francisco and Vitoria, the Kunsthalle of Bremen, the Albertina of Vienna, the National Library of Spain and the Guggenheim of New York, among others.

Estim. 800 - 900 EUR

Lot 59 - JORGE CASTILLO CASALDERREY (Pontevedra, 1933). "Still the night", 2012 Acrylic on canvas. Signed in the lower left corner. Dated and titled on the back. Measurements: 65 x 54 cm. Son of Spanish emigrants in Argentina, Jorge Castillo returns to Spain in 1957. He is introduced in the artistic circles of Madrid, and in 1958 he begins to sell his drawings in the gallery Biosca. Little by little, he began to opt for the technique of engraving, which eventually became his main means of expression, although he alternated it with painting. In 1960 he was selected for the São Paulo Biennial in Brazil. From then on he exhibited internationally, in galleries and museums in New York, San Francisco, Tokyo, Paris, Lisbon, Turin, Hanover, Düsseldorf and Geneva. He participated in the Venice Biennale in 1964 and 1976, and in 1970 he held a solo exhibition at the Nationalgalerie in Berlin, the first major museum show dedicated to a specific period of his career. He won awards such as the Darmstadt International Drawing and Painting Prize, the City of Pontevedra and the Cultura Viva de las Artes Plásticas. He is represented in the Museum of Fine Arts of Lausanne, the Juan March Foundation, the National Galleries of Edinburgh and Berlin, the Museums of Modern Art of San Francisco and Vitoria, the Kunsthalle of Bremen, the Albertina of Vienna, the National Library of Spain and the Guggenheim of New York, among others.

Estim. 800 - 900 EUR

Lot 60 - JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954). Untitled, 1998. Mixed media on paper. Signed and dated in the lower margin. Measurements: 122 x 67 cm; 135 x 89,5 cm (frame). Painter and sculptor, Josep Riera i Aragó was formed in the Superior School of Fine Arts of Barcelona. He made his individual debut in 1981, at the Artema gallery in Barcelona. Two years later he participated in the Salón de Otoño of the same city, and since then he has shown his work all over the world, in outstanding galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. His solo exhibitions have been held at the Museum of Ceret (France, 1989), the National Library of Paris (1993), the Museum of Modern Art in Oostende (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinism, with a symbolic language marked by an interest in air and maritime transport, which he contemplates decontextualized, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the dialogue line/plane and empty/full. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or airplanes, Riera i Aragó develops a fertile iconography loaded with meaning that, endowed with a clear irony, speaks of the absurd recklessness of man's creations and the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics or mysticism, and which offers the viewer the possibility of entering a particular universe of great lyricism, where reality and fiction are no longer opposing categories. Riera i Aragó is currently represented in the Museum of Contemporary Art in Barcelona, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles, France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

Estim. 5 000 - 6 000 EUR

Lot 61 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, ca. 1980's. Mixed media (painting and collage) on paper. Signed and dated in the lower margin. Measurements: 226 x 116 cm; 236 x 126 cm (frame). This painting probably dates from the eighties, a particularly experimental period in Guinovart's production. The use of collage and poetic abstraction is characteristic of this period, as well as the preference for sienna, brown and brown tones. It includes subtle synthetic strokes that seem to pay homage to Picasso's post-cubist creatures and, at the same time, the composition (which leaves the upper part empty) indirectly refers to Goya's buried dog. 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. 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. 5 500 - 6 500 EUR

Lot 62 - LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000). "Entrance to the souk", 1987. Oil on canvas. With Dau Al Set Gallery label on the back. Signed in pencil in the lower right corner. Measurements: 81 x 100 cm; 102 x 123 cm (frame). Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in its beginnings, which will gradually disappear until it becomes a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

Estim. 2 800 - 3 000 EUR

Lot 63 - LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000) Untitled. Oil on canvas. Signed in the upper left area. Measurements: 100 x 84 cm; 101 x 85 cm (frame). Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in its beginnings, which will gradually disappear until transforming into a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

Estim. 1 000 - 1 200 EUR

Lot 64 - LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000) Untitled. Oil on canvas. It shows wear and dirt on the pictorial surface. Signed in the upper right area. Measurements: 100 x 82 cm; 101 x 83 cm (frame). Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in his beginnings, which will gradually disappear until transforming into a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates. It shows wear and dirt on the pictorial surface.

Estim. 1 000 - 1 200 EUR

Lot 65 - LUIS FEITO (Madrid, 1929-2021). Untitled. Watercolor and oil on paper. Signed and stamped. Measurements: 40 x 50 cm; 58 x 68 cm (frame). Born and formed in Madrid, he was one of the founding members of the group El Paso. In 1954 he had 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, among which we will point out the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.

Estim. 4 000 - 5 000 EUR

Lot 66 - LUIS FEITO (Madrid, 1929-2021). "Guadarrama II". 2004. Monotype on canvas, E/U copy. Signed and justified by hand. Measurements: 140 x 100 cm. Born and educated in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first individual exhibition, with work of a non-figurative tendency, at the Buchholz gallery in Madrid. From this moment Feito will exhibit regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo or Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he abandoned teaching and went to Paris with a scholarship, in order to study current avant-garde movements. In this period he received the influences of automatism and material painting. In 1962 he joined as a founding member of the group El Paso, with which he had lost contact during his years in Paris. His first works were part of figurative painting, and then he went through a phase in which he experimented with cubism, and finally delved fully into abstraction. At first he only used black, ocher and white colors, but upon discovering 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 as a geometric shape predominating in his compositions. Possibly, the influence of Japanese art can be seen in his preference for large black bands. Most of his works lack titles, so they are usually recognized by the numbering assigned to them. Among his awards stands out his appointment as an 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 named 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 the Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the National Mint and Stamp Factory, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize of Spanish Contemporary Art CESMAI. Luis Feito is represented in the most prominent museums around the world, among which we will point out the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, Lissone in Italy etc.

Estim. 1 700 - 1 800 EUR

Lot 67 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). Untitled, 1977. Ink on paper. Signed, dated and dedicated "to my friend Martí". Measurements: 29,5 x 19 cm; 40 x 30 cm (frame). In this original drawing by Dalí, dated 1977, we recognize St. George on horseback armoring a weapon because Dalí reinvented the iconography of this saint by placing him in Empordà landscapes or in settings that refer to mystical deserts like the one that inspires this composition. On other occasions, he reinterpreted the theme of Saint George and the dragon in sculptural language. Dalí was interested in representing the duality between life and death, between the fleeting and the eternal, the dark forces of the night and those of the day, sleep and reason. For this reason he chose emblematic figures such as St. George or Don Quixote, to whom he also dedicated countless drawings. Salvador Dalí was one of the greatest exponents of the surrealist movement. His work greatly influenced the course of surrealism during the twenties and thirties, being acclaimed as the creator of the paranoiac-critical method, an essential combination of the real with the imaginary. 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. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. 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. 4 000 - 5 000 EUR

Lot 68 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989) "La comtesse DuBarry. 1977. Ink on cardboard. Signed and dated in the lower right corner. Attached certificate issued by the Gala-Dalí Foundation. Measurements: 28 x 21 cm (paper); 35,5 x 27 cm. The foie gras house Comtesse du Barry may have commissioned this drawing from Dalí to advertise its product. The legendary brand of foie gras chose the name in homage to the lady of the court of Louis XV, the king's last mistress, whose name is associated with this gourmet food made from duck liver, the animal that accompanies the lady in Dalí's drawing. Painter and sculptor, Salvador Dalí was one of the leading exponents of the surrealist movement. His work greatly influenced the course of surrealism during the twenties and thirties, being acclaimed as the creator of the paranoiac-critical method, an essential combination of the real with the imaginary. Most of his production is gathered in the Dalí Theater-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. 4 500 - 6 000 EUR

Lot 69 - LUIS SEOANE LÓPEZ (Buenos Aires, 1910 - A Coruña, 1979). "Still life". 1969. Oil on canvas. Signed and dated in the lower margin. Provenance: José María Moreno Galván collection. Measurements: 30 x 40 cm; 33 x 43 cm (frame). Scene of interior in which the artist arranges a recurrent subject in the history of art as it is the still life. However, he exposes this genre from a modern point of view where the artist plays with the juxtaposition of elemental forms and a range of saturated colors applied in planes that are diluted and independent of objects and realism. A draftsman, painter, engraver and writer, Luis Seoane was educated in A Coruña, where he worked as a lawyer and was a member of the Partigo Galeguista, and in 1936 he settled in Buenos Aires. In his youth he participated in the political and cultural activity of the students of A Coruña and, according to the historian and journalist Carlos Fernández Santander, Seoane could be the author who, under the pseudonym of Hernán Quijano, wrote "Galicia Mártir. Episodes of the white terror in the Galician provinces", a book published in Paris and Argentina in 1938. In 1932 he graduated in Law and Social Sciences in Santiago de Compostela, and during these years he began his career in various fields. Thus, between 1927 and 1933 he militated in republican and autonomist left-wing parties, illustrated books and magazines and held his first exhibitions. In 1934 he returned to A Coruña from Santiago and began to work as a lawyer, while sharing gatherings with Huici, Cebreiro, Fernández Mazas, Del Valle, Julio J. Casal, Francisco Miguel and others. That same year he joined the Partido Galeguista. Two years later he took part in the campaign for the Statute of Autonomy, but when the war broke out he was forced to flee to the Argentine capital. Once settled in Buenos Aires, he kept in touch with other compatriots exiled from Franco's regime, among them the painter Leopoldo Nóvoa and the activist María Miramontes. In 1937 he published his first book there, "Trece estampas de la traición". Three years later he founded the collections "Hórreo" and "Dorna" in EMECÉ Editores, and in 1943 he created the magazine "Correo Literario" and Editorial Nova. Two years later, his "Homenaje a la Torre de Hércules" (Homage to the Tower of Hercules) was awarded in New York. In 1948 he founded the publishing house Botella al Mar, and the following year he made a trip to Europe and exhibited in London. Between 1952 and 1962 he exhibited in New York, founded the magazine "Galicia Emigrante" and the publishing house Citania, and was awarded prizes such as the medal of the Universal Exhibition of Brussels, the medal of the Senate of the Argentine Nation (1958) or the Palanza Prize (1962). At the same time, he worked for the Buenos Aires gallery Gordons, directed by Roberto Mackintosh, an expert and connoisseur of his work. In the last decades of his life he alternated his residence in America with trips to Galicia, and in 1977 the first complete edition of his poetic work was published. Between 1963 and 1979 he held exhibitions in Spain, Germany, Italy, Switzerland, Brazil and other countries. In 1994 the Day of the Galician Letters was dedicated to him, and in 2003 the Galician Center of Contemporary Art, in Santiago de Compostela, dedicated an important retrospective exhibition to him, which was later taken to the Museum of Modern Art in Buenos Aires. He is currently represented in the Caixanova Collection, among many others.

Estim. 4 000 - 5 000 EUR

Lot 70 - TAKASHI MURAKAMI (Tokyo, 1962). "Kaikai and Kiki collectibles," 2018. Vinyl. Limited edition of 80 copies. From Takashi Murakami for complexion. In their original boxes. Measurements: 22 x 15 x 9 cm (Kaikai); 19 x 14 x 9 x 9 cm (Kiki); 28 x 19 x 13 cm (box x2). Kaikai and Kiki are two of the great icons of the famous Japanese artist Takashi Murakami. They represent two spiritual guardians, which took shape from 2000 onwards. They often appear in their sculptural form, as here, but have also starred in animated films. Kaikai, smiling and friendly, is white with bunny ears and displays obvious good humor, while her malevolent counterpart, Kiki, has a pink body, small ears, three eyes and a mischievous smile that is accentuated by her vampire fangs. She has her names Kaikai Kiki written on her ears in Japanese characters, which can be translated as "supernatural, weird." It refers to a Japanese phrase that appeared in the 16th century to describe the works of the painter Kano Eitoku, creator of the Kano style, whose aesthetic was a mixture of weirdness and refinement, of the grotesque and the delicate. Murakami also founded KaiKai and Kiki Co. in 2001, which took over the work of the Hiropon factory, which was founded in 1996. Its objectives as a company are based on support for the production and promotion of works of art, the management and support of young artists and the dissemination of their work. The use of "heroes" or characters from comics or urban culture as the protagonists of his art are heirs of pop-art. However, Murakami offers a new perspective on what is known as pop. He brings a radically new vision by playing with elements of Eastern culture. He has managed to introduce his own idiosyncrasies into the Western market by incorporating small, dynamic and recognizable elements that can be assimilated by both cultures that are apparently so different. Murakami is one of the most influential artists of the Japanese post-war generation, Takashi Murakami was trained at the National University of Fine Arts and Music in Tokyo, where he obtained a degree in Nihonga (traditional Japanese painting). In 1990 he was introduced to contemporary art by his partner and friend Masato Nakamura, and in 1993 he created his alter ego Mr. DOB. He then began to be recognized inside and outside Japan for his particular synthesis between traditional Japanese art, the contemporary currents of his country (anime, manga...) and American culture, mainly the pop current. In his work, Murakami conveys a critical vision of current Japanese society, the legacy of the country's cultural tradition, its evolution after World War II and its relationship with the Western world, especially with the United States. In his writings he coined the term "Superflat" to define his personal artistic style, a term that fits a work characterized by two-dimensionality and that also criticizes the very structure of art, blurring the boundaries between high and low culture. In fact, his output spans multiple art forms, from painting and sculpture to industrial design, anime, fashion and other popular culture media and merchandising objects. His trilogy of exhibitions "Superflat" (2000, 2002 and 2005) has been shown in important art centers around the world, such as the Parco Gallery in Tokyo, the MOCA in Los Angeles, the Fondation Cartier in Paris or the Serpentine Gallery in London. Also, between 2008 and 2009, retrospective exhibitions were held at MOCA, the Brooklyn Museum in New York, the Museum für Moderne Kunst in Frankfurt.

Estim. 5 000 - 6 000 EUR

Lot 71 - JAVIER TERCERO (Valdepeñas, Ciudad Real, 1970). Untitled. Cyclic Universes Series V, 2022. Acrylic and aerosol on canvas. Attached catalog of the author. Signed, dated and titled on the back. Measurements: 181 x 120 cm. Javier Tercero, Valdepeñas studied Technical Design and Plastic Arts, specializing in "Artistic Photography", in EASDAL of Tomelloso (C. Real). He has had solo exhibitions in: Cultural Center "Cecilio Muñoz Fillol", Municipal Museum and Exhibition Center La Confianza de Valdepeñas; Exhibition Hall-Primavera-Casa del Reloj, Madrid; Centro de las Artes, Alcorcón (Madrid); IES Ramón Giraldo de Villanueva de los Infantes and EASDAL Antonio López, Tomelloso. He has also participated in other collective works, of which we highlight: IX Gregorio Prieto National Contest, Valdepeñas and Museum of the city of Madrid; X Contest of Plastic Arts Ángel Andrade of Ciudad Real; LXII National Exhibition of Plastic Arts of Valdepeñas; VI Contest Art and Energy Union Fenosa; IX National Contest Vela Zanetti (Burgos); Paloma Sanz Gallery (Madrid); International Contest of Photography PHOCO; Jesús Bárcenas Prize of Painting Municipal Museum of Valdepeñas and López Villaseñor of Ciudad Real. His works are in numerous collections of great artistic relevance among which include the collection of the Junta de Comunidades de Castilla la Mancha, the Fernando Zóbel Institute Collection. Cuenca, the Provincial Council of Ciudad Real, the City Council of Manzanares, the Contemporary Art Collection of UNION FENOSA. Museo de Pintura Hispanoamericana de Palacio de Losada and the City Council of Torrelavega, Cantabria. Among many other collections. The author's catalog is attached.

Estim. 4 000 - 4 500 EUR

Lot 72 - JAVIER TERCERO (Valdepeñas, Ciudad Real, 1970). Untitled. Cyclic Universes Series V, 2022. Acrylic and aerosol on canvas. Attached catalog of the author. Signed, dated and titled on the back. Measurements: 181 x 120 cm. Javier Tercero, Valdepeñas studied Technical Design and Plastic Arts, specializing in "Artistic Photography", in EASDAL of Tomelloso (C. Real). He has had solo exhibitions in: Cultural Center "Cecilio Muñoz Fillol", Municipal Museum and Exhibition Center La Confianza de Valdepeñas; Exhibition Hall-Primavera-Casa del Reloj, Madrid; Centro de las Artes, Alcorcón (Madrid); IES Ramón Giraldo de Villanueva de los Infantes and EASDAL Antonio López, Tomelloso. He has also participated in other collective works, of which we highlight: IX Gregorio Prieto National Contest, Valdepeñas and Museum of the city of Madrid; X Contest of Plastic Arts Ángel Andrade of Ciudad Real; LXII National Exhibition of Plastic Arts of Valdepeñas; VI Contest Art and Energy Union Fenosa; IX National Contest Vela Zanetti (Burgos); Paloma Sanz Gallery (Madrid); International Contest of Photography PHOCO; Jesús Bárcenas Prize of Painting Municipal Museum of Valdepeñas and López Villaseñor of Ciudad Real. His works are in numerous collections of great artistic relevance among which include the collection of the Junta de Comunidades de Castilla la Mancha, the Fernando Zóbel Institute Collection. Cuenca, the Provincial Council of Ciudad Real, the City Council of Manzanares, the Contemporary Art Collection of UNION FENOSA. Museo de Pintura Hispanoamericana de Palacio de Losada and the City Council of Torrelavega, Cantabria. Among many other collections. The author's catalog is attached.

Estim. 4 000 - 5 000 EUR

Lot 73 - SILVIA GOYTÍA (Buenos Aires, Argentina, 1958). "The unknown structure", 2014. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 100 x 100 cm. In the artist's own words, her painting "takes as a basis the slogans of constructivism, at first "Americanist" and later more inclined to geometry". Although at first she decided to study law, she took a postgraduate course in Sculpture at the National School of Buenos Aires Prilidiano Pueyrredón and trained as a teacher of Fine Arts at the same school. He furthered his artistic education in the workshops of renowned artists such as; rnesto Pesce, Adolfo Nigro, Alberto Delmonte, Jorge Gamarra and Julian Agosta. Throughout his career he has participated in numerous exhibitions both collectively and individually at international level such as; Settemari Art Gallery. Punta del Este, Uruguay, the Forma Art Gallery, the British Art Council, the Cremolatta Gallery in Miami, the San Diego Art Fair (USA), the Sala Dalmau in Barcelona and the American Art Museum of Uruguay among others. In addition, throughout her career she has been awarded numerous prizes such as the First Prize at the National Library, First Prize - SAAP Salon - Museum of Modern Art and First Prize in Sculpture - San Isidro Plastic Artists Salon among many others.

Estim. 4 000 - 5 000 EUR

Lot 74 - SILVIA GOYTÍA (Buenos Aires, Argentina, 1958). "Mineral structure", 2014. Oil on canvas. Signed in the lower middle area. Dated and titled on the back. Measurements: 100 x 120 cm. In the words of the artist herself, her painting "takes as a basis the slogans of constructivism, at first "Americanist" and later more inclined to geometry". In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its layout and colors. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thoughtful composition and experimentation, with an image of gestural character, are not limited to a composition but go beyond, indicating to the viewer that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial. Although he initially decided to study law, he took a postgraduate course in sculpture at the Escuela Nacional de Buenos Aires Prilidiano Pueyrredón and trained as a teacher of fine arts at the same school. He furthered his artistic education in the workshops of renowned artists such as; rnesto Pesce, Adolfo Nigro, Alberto Delmonte, Jorge Gamarra and Julian Agosta. Throughout his career he has participated in numerous exhibitions both collectively and individually at international level such as; Settemari Art Gallery. Punta del Este, Uruguay, the Forma Art Gallery, the British Art Council, the Cremolatta Gallery in Miami, the San Diego Art Fair (USA), the Sala Dalmau in Barcelona and the American Art Museum of Uruguay among others. In addition, throughout her career she has been awarded numerous prizes such as the First Prize at the National Library, First Prize - SAAP Salon - Museum of Modern Art and First Prize in Sculpture - San Isidro Plastic Artists Salon among many others.

Estim. 4 500 - 5 500 EUR

Lot 75 - EUGENIO MERINO, (Madrid, 1975). "Deadball", 2011. Patinated bronze. Measurements: 27 x 19 x 27 cm. We see here a skull with an overdeveloped skull, which takes the shape of a soccer. Inspired, with his usual sarcasm, in the cranial elongation that was practiced among the oligarchic classes of the most ancient cultures (as can be seen in the fossils of Paracas), Eugenio Merino slips here a sarcastic commentary on the mental reformatting that soccer has turned into a big business of technocrats and millionaires. Eugenio Merino is, above all, known for the controversy he creates with his works: from the "Jaffar suicida" of the exhibition "Mondolirondo" in 2006, to the installation "Starway to heaven", passing through "Always Franco" (presented at ARCO) or "For the Love of Go(l)d". He began working in painting, with works of less content than the current ones (according to his own words, the turn in his career was due to boredom with the same processes and not feeling anything as a spectator of his own works). Showing his political work, typical of a creator who, conditioned by his time, transfers his social ideology to his hands and from there to the sculptural work that splashes the viewer (as it should be). With a degree in Fine Arts from the Complutense University of Madrid, he has had solo exhibitions at Unix Gallery (Houston, USA), Unix Fine Arts (New York, USA), ADN Galería (Barcelona, Spain), Jerome Zodo Gallery (Milan, Italy) and Louis 21 (Madrid, Spain), among other venues. He has had numerous solo and group exhibitions and has participated in a variety of art fairs, such as Volta NY, Volta Basel, ARCO (Madrid). Art Brussels, FIAC (Paris), Armory Show, Arte Fiera (Bologna), Art BO (Bogota), MACO (Mexico), Art Wynwood (Miami) and has exhibited at the MOCA Museum in Taipei and the BPS22 in Charleroi (Belgium).

Estim. 5 500 - 6 500 EUR

Lot 76 - ARNO BREKER (Elberfeld, Germany, 1900-Düsseldorf, Germany, 1991) & SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904-1989). "Dalí-Morphosis", 1974-1975. Patinated and gilded bronze. Marble base. Signed by Arno Breker. Exhibitions: - "Homage to Salvador Dalí", Schloss Nörvenich, Germany, inaugurated by Philip VI, at that time prince, 1991. - Centenary of Salvador Dalí's birth", 2004, under the patronage of HM Juan Carlos I and Queen Sofia of Spain. Measurements: 28 x 15.5 x 15 cm (without base); 36 cm (height with base). It was 1974 when Salvador Dalí invited Arno Breker, a German sculptor for whom he felt great admiration, to the inauguration of the Dalí Museum in Figueras, Spain. There the German exhibited a marble bust of Jean Cocteau that Dalí himself had requested, narrating the experience as "After his speech, he himself led the guests through the museum. And when we reached the room where the bust was, he asked, "Where is Breker?" They looked for me and I approached him. Dalí's conversation turned to me. In front of the audience he hugged me tightly and thanked me for having presented the Cocteau bust to the museum. So from one moment to the next they took the bust away from me. But Dalí did it with such charm that I couldn't say no." (excerpt from the book Schriften by Arno Breker). The following year, and following the harmony between the two artists during the meeting, they began a collaboration that culminated in the realization of 10 unique and unrepeatable sculptures. For this purpose, Breker made exceptional portraits of the Figueras artist, which were later intervened by Dalí himself, giving them his unmistakable surrealist touch. Painter and sculptor, Salvador Dalí was one of the greatest exponents of the surrealist movement. His work greatly influenced the course of surrealism during the twenties and thirties, being acclaimed as the creator of the paranoiac-critical method, an essential combination of the real with the imaginary. 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. Arno Breker entered the Academy of Fine Arts in Düsseldorf in 1920, and in 1927 he moved to Paris, where he became familiar with the works of Rodin and Charles Despiau. In 1931 he went to Rome. During a trip to Florence he saw Michelangelo's David, which meant for him "like a cosmic call, like an order, pure occultism" to dedicate himself to a realistic and harmonious sculpture. In 1936, on the occasion of the Berlin Olympic Games, he received the commission for three statues for the stadium. In 1938, he received the commission for two monumental statues for the entrance of the New Chancellery, which would mark the destiny of his work. A week later, when he presented the project for The Torchbearer and The Swordbearer, Adolf Hitler was won over by the designs, which marked the beginning of the most fruitful period of Breker's career as he became the official sculptor of the regime. Until 1945, he sculpted for squares and avenues in the capital of the Third Reich. However, during World War II, not even a quarter of his works were spared from enemy bombardment and vandalism by the invading troops. After World War II, Breker continued to devote himself to both architecture and sculpture, as shown by the building in Cologne for an insurance company in 1955, or the equestrian statue of Mohammed V, King of Morocco. Some well-known faces portrayed by this sculptor are Salvador Dalí, Ezra Pound, the athlete Ulrike Meyfarth and Baron Hans Heinrich Thyssen-Bornemisza.

Estim. 6 000 - 7 000 EUR

Lot 77 - JAMES RIELLY (Wales, 1956). "With or without god on our side", 2017. Acrylic on canvas. Signed, dated and titled on the back. Measurements: 125 x 104.5 cm. James Rielly was born in Wales in 1956. He currently lives and works between Paris and the south of France. British painter James Rielly's highly characteristic works focus on the clichés, ideologies and metaphors of children. By creating subversive and sometimes surreal portraits of bright-eyed, school-aged youngsters, Rielly addresses notions of social tension and pictorial tradition. His best known series are Casual Influences (2000) and Sensible Ways (96-97), which consist of large-scale portraits inspired by stories and images taken from local newspaper articles. Through the act of highlighting certain characteristics and roles in children, Rielly's pieces highlight the dysfunctional nature of adults. Rielly has shown his paintings in a number of solo exhibitions since 1983, including the Nantes Museum of Fine Arts, Nantes, France, Spencer Brownstone Gallery, New York, Fond Regional d'Art Contemporain Auvergne, Clermont-Ferrand, Centro de Arte de Salamanca (CASA), Salamanca, Spain, Centre d'Art Neuchâtel, Switzerland, and Scott White Contemporary Art, La Jolla, CA, among many others. In 1995 he was awarded a MOMART fellowship at Tate Gallery and in 1997 he was shortlisted for the Jerwood Prize. He has been a professor of painting at the Ecole Nationale Supérieure des Beaux-Arts, Paris, France since 2006.

Estim. 7 000 - 7 500 EUR

Lot 78 - FRANCIS BACON (Dublin, 1909 - Madrid, 1992). Right panel of the "Triptych 1974-1977". 1981. Etching and aquatint engraving on Guarro paper, copy A.P 11/15. Polígrafa editor, Barcelona. Signed and justified in pencil. Measurements: 39 x 29.5 cm (footprint); 65 x 50 cm (paper); 68.5 x 53.5 cm (frame). Engraving by Francis Bacon based on the right panel of the triptych he made after the death of his lover George Dyer, who committed suicide in a Parisian hotel in 1971. In 2008, the triptych came very close to breaking the artist's record when it was sold in London for 26.3 million pounds. This was one of the so-called "Black Triptychs", executed by Bacon after Dyer's suicide. The black umbrella as an ominous symbol was already present in previous works by the artist, but in this triptych the literary or artistic references are diluted, making the reading more complex. It is a subjugating work. An Anglo-Irish painter born in Dublin into a British family, Francis Bacon was a key artist in the development of 20th century art because of his raw, shocking and plasticity-laden imagery. He spent his childhood between Ireland and England, and in his puberty his father excluded him from his family because of his homosexual tendencies. In 1925 he was sent to Berlin with a family friend, whom he finally seduced. Between 1927 and 1928 he lived between Berlin and Paris, and it was during these years that he discovered Poussin's "The Massacre of the Innocents", a work that awakened in him an interest in the scream and the mouth. During these years he decided to become a painter, after visiting an exhibition that included several works by Picasso. He returned to London and began his artistic training with the Australian Roy de Maistre, studies that he completed in a self-taught way. However, it was not until the mid-1940s (around 1944) when his triptych "Three Studies for Figures at the Foot of a Crucifixion" marked the starting point of his artistic career. This work, considered one of the most original and disturbing in 20th century art, marked the beginning of Bacon's artistic maturity, whose work will focus from then on the theme of life in death and death in life, reflecting his own self-destructive character. From then on, too, his work would be characterized by exposed and vulnerable human figures, an expression of "loneliness, violence and degradation", in his own words. Recognition of his mature work was almost immediate, and in 1949 the MoMA in New York acquired one of his works. Already fully consolidated in the international art scene, in 1955 his first retrospective exhibition was held at the Institute of Contemporary Arts in London. In 1959 he had a solo show in the context of the São Paulo Biennial, and in 1962 he was again given a retrospective, this time at the Tate Gallery in London. In the following years Bacon held important exhibitions of his work at the Guggenheim Museum in New York (1963), the Grand Palais in Paris (1971) and the Metropolitan in New York (1975), as well as retrospectives at the Hirshhorn Museum and Sculpture Garden in Washington D.C., the Los Angeles County Museum of Art, the MoMA in New York and the Musée National d'Art Moderne in Paris. More recently, the Tate Britain's major retrospective of Bacon's work in 2008 was the largest to date. Bacon is currently represented in the world's leading museums, including MoMA and the Guggenheim in New York, the Art Institute of Chicago, the MUMOK and the Albertina in Vienna, the Reina Sofia and the Thyssen-Bornemisza in Madrid, the SMAK in Ghent and the Tate Gallery in London.

Estim. 7 000 - 8 000 EUR

Lot 79 - WILFREDO LAM (Sagua La Grande, Cuba, 1902 - Paris, 1982). Untitled, 1966. Ink on paper. Attached certificate issued by the Wilfredo Lam Foundation. Signed in the upper left corner. Dated and located (Paris), in the lower right area. Measurements: 29,5 x 40 cm; 48 x 59 cm (frame). In this work one can appreciate the artistic language developed by Wilfredo Lam, translated into a series of characters and aesthetic elements, which became his own iconography. During the forties Lam began an artistic activity based on the roots of a people that, in the painter's opinion, should recover its dignity. In this way, the autochthonous references were fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that would populate a large part of his later production already appeared. Wifredo Lam was trained in Havana, where he studied at the School of Fine Arts. He made his individual debut in the early 1920s, with an exhibition at the Salon of the Association of Painters and Sculptors of the Cuban capital. In 1923 he moved to Madrid, with a scholarship from the City Council of Sagua La Grande, where he continued his training in the workshop of Fernando Alvarez de Sotomayor, director of the Prado Museum and recognized for having been Salvador Dali's teacher. At the same time, he attended the Academia Libre del Pasaje de la Alhambra, and visited the Prado, where his preferences leaned towards the works of Bosch, Brueghel and Goya. Little by little, his painting assumed a modern language that combined a geometrical structure with a certain surrealist vein. In 1938 he traveled to Paris, with a letter of recommendation for Picasso written by Manolo Hugué. Lam, who had had the opportunity to attend the Picasso exhibition held in Madrid in 1936, defined this experience as "a shock". In 1939 he made his first personal exhibition in Paris, with Pierre Loeb. During World War II Lam remained in the Caribbean, in contact with representatives of the avant-garde such as Masson and Breton, who, fascinated by the Cuban's pictorial work, asked him to illustrate his poem "Fata Morgana" (1940). Back in Cuba, Lam began an artistic activity based on the roots of a people who, in the painter's opinion, had to recover their dignity. In this way, the autochthonous references were fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that would populate a large part of his later production already appeared. In the second half of the forties, Lam alternated his residence between Cuba, New York and Paris, where he settled in 1952. His international prestige grew progressively, and he held periodic exhibitions in galleries such as the Pierre Matisse Gallery in New York. He traveled intensely during the following years and, in 1960, he settled in Albisola Mare, on the Italian coast. In 1961 he received the Guggenheim International Prize, and between 1966 and 1967 multiple retrospectives of his work were held at the Kunsthalle in Basel, the Kestner-Gessellschaft in Hannover, the Stedelijk Museum in Amsterdam, the Museum of Modern Art in Stockholm and the Palais des Beaux-Arts in Brussels. Wifredo Lam is represented at the Guggenheim and MoMA in New York, the Museo Patio Herreriano in Valladolid, the Tate Gallery in London and the Museo Thyssen-Bornemisza, among others. Attached is a certificate issued by the Wilfredo Lam Foundation.

Estim. 7 000 - 8 000 EUR

Lot 80 - TINA BERNING (Germany, 1969) & MICHELANGELO DI BATTISTA (Italy). "Valerie" 2016. Acrylic and charcoal on Ditone print. Unique piece. Signed, dated and titled on the back. Measurements: 81 x 160 cm; 89 x 169,5 cm (frame). Tina Berning is an artist and illustrator based in Berlin. After working as a graphic designer for several years, Tina Berning focused on drawing and illustration in 2000. Since then, her award-winning illustrations are published worldwide and appear in many renowned anthologies. Tina Berning's illustrations have appeared in publications such as The New York Times, Playboy (USA and Germany), Vogue (Italy, Nippon, Germany), Die Zeit, Süddeutsche Zeitung and Architectural Digest. Her early passion for editorial illustration led her to an intense contemplation of the human figure. Reflecting the female role in the media is one of the central themes of her artistic work. Her work as a fine artist is regularly shown in solo exhibitions in the United States, Germany, Japan, the Netherlands and Canada. Italian Michelangelo Di Battista completed his formal art education in Milan, after which he decided to go to New York and enrolled at the prestigious School of Visual Arts, where he trained in photography and imaging. This seemed the natural choice for him, who cites his mother, a painter, as a major influence who, along with his father, an architect, encouraged and inspired him to pursue a career in the world of fashion and art. It has been 20 years since he began his career in the fashion world, Michelangelo Di Battista lives in London and travels the world for his numerous fashion and advertising commissions. Michelangelo Di Battista's dedication and passion for his craft has attracted some of the most prestigious names in the fashion and beauty industry, including Versace, Etro, Blumarine, Moschino, Guerlain, Shiseido, Maybelline, Clarins, L'Oreal, Prescriptives, Aveda, Givenchy, Nina Ricci, Lacoste, Tod's and Hugo Boss, to name but a few. She has collaborated with some of the most important publications in the world, such as Vogue Italia, Vogue Germany, Vogue Japan, Vogue China and Harpers Bazaar. Hollywood actresses and performers such as Natalie Portman, Gwyneth Paltrow, Julianne Moore, Jennifer Aniston, Scarlet Johansson, Hilary Swank, Cameron Diaz, Jennifer Lopez, Kristen Stewart, Beyonce, Rhianna and Gwen Stefani love to be photographed by Michelangelo Di Battista, as he makes women look seductive and mysterious and captures a moment of tranquility in each of them, making them look radiant. Michelangelo Di Battista had a major solo exhibition at the world-renowned Camera Work Gallery in Berlin in 2010, in collaboration with artist Tina Berning. Michelangelo Di Battista's portraits of women (including supermodels Claudia Schiffer, Amber Valetta and Julia Stegner), along with Tina Berning's applications, blurred the boundaries between fashion photography, drawing and painting.

Estim. 7 000 - 8 000 EUR

Lot 81 - SANDÚ DARIE (Roman, Romania, 1908 - Havana, Cuba, 1991). Untitled, ca. 1960. Acrylic on wood, with relief. Signed at the bottom. Attached certificate issued by Pedro de Oraá. Measurements: 45,5 x 76 cm. Sandú Darie's avant-garde works are unclassifiable in that they oscillate between painting and sculpture, while trying to eliminate the limits between art and craftsmanship. This is evident in this attractive piece in which red and black on white acquire relief, suggesting an imaginary pictographic language. Despite the influence of Mondrian (see the work Broadway Boogie-Woogie of 1949), Darie's pieces complexify the integration of the planes, imprinting on them a peculiar rhythm, beyond the formal minimalism that Mondrian proposed. A multidisciplinary artist, he worked in different fields of the artistic field, among which sculpture, painting, drawing, ceramics, scenographic design and theatrical costume design stand out. He began his academic training in Paris in 1926 in the university field of law. However, his interest in art and the artistic atmosphere of Paros introduced Saurdu Darie to the world of art in a self-taught way. During this period the artist combined his training in France with his participation in progressive magazines and newspapers in Romania and France, in which he made humorous drawings, and in 1940 he joined the French army as a volunteer, arriving a year later in Cuba. On the island he began to make humorous drawings, which achieved a great reputation, making him a reference artist since 1942. Since 1949, the year of his first exhibition in New York, he began his artistic relationship with Gyula Kosice, founder of the group "Arte Madí", thus becoming part of the exhibitions of this group and the publication of articles in the group's magazine. Between 1958 and 1961 he was a member of the renowned group of artists "Diez Pintores Concretos", and in 1964 he made, together with Enrique Pineda Barnet, the documentary "Cosmorama. Spatial Poem No. 1", an experimental study of forms and structures in movement, during the 70's his production followed a line of projects for urban architectural environments using kinetic art as a language. In 1982 he was juror of the Salón Paisaje'82, Museo Nacional de Bellas Artes, Havana and in 1988 juror of the III Salón de Premiados, Museo Nacional de Bellas Artes, Havana, Cuba.Sandú Daire Laver, is one of the most outstanding figures of Cuban art. He is one of the main precursors of Abstraction in both its lyrical and geometric aspects. Being an example of his experience on geometric abstraction this plastic work, which by its formal and structural characteristics could be executed during the 50's. Besides being one of the greatest representatives of kinetic art. Among his numerous recognitions, it is necessary to emphasize the Honorary Mention of the VIIII Salón de Pintura y Escultura del Museo Nacional de Bellas Artes de La Habana in 1956 and his appointment as Honorary Member of the Royal Academy of Fine Arts of The Hague (Holland) in 1975, the Museo Nacional Centro de Arte Reina Sofía in Madrid, and numerous private collections around the world, as well as institutions such as the Casa de las Américas in La Hanana (Cuba) and the MoMA in New York, among others. Attached is a certificate issued by Pedro de Oraá.

Estim. 6 000 - 7 000 EUR

Lot 82 - DALILA GONÇALVES (Castelo de Paiva, Portugal, 1982). "Kneaned Memory", 2012. Ceramic, tile and concrete. Unique piece. Work exhibited in:-Kubic Gallery, "Dalila Gonçalves. Procedere é Processo", Oporto 2012." Measurements: 30 x 50 x 100 cm. "Kneaned Memory" is one of the most representative proposals of the Portuguese artist Dalila Gonçalves. In this piece she reflects on the coexistence between traditional craftsmanship and contemporary art by means of cement stones to which she adjusts ceramic pieces painted in the traditional Portuguese way. The exhibition was presented as an installation in Blackenberge Square (Belgium) during the 2012 Beaufort Triennale. "Kneaned Memory" has traveled to different cities around the world, establishing intercultural dialogues. From the experimental game, the permeability of materials and the processes of artistic practice, Dalila delves into the relationship between memory and oblivion. Dalila Gonçalves lives and works in Porto. She has a degree in Fine Arts-Painting (2005). Master in Visual Arts Teaching (2009) by FBAUP and FPCEUP (University of Porto 2009). In 2008 she was selected for the 2nd edition of the Photography Course of the Gulbenkian Creativity and Artistic Creation Program. Between 2010 and 2011 she worked in Barcelona in the atelier of artist Ignasi Aballí as a fellow of the Inov-art program. She was artist in residence at the KulturKontakt Program, Vienna, Austria (2017); Inclusartiz Residency, Rio de Janeiro (2014); Pivô- Arte e Pesquisa Residency, São Paulo (2018); Marso Foundation, Mexico DF 2020, among others. She exhibits regularly in Institutions and galleries in different countries of Europe and South America. Countries where she is represented in public and private collections. She presented her work, among other fairs, at Arco Madrid (soloproject); Zona MACO, Mexico (soloproject); ArcoLisboa; ArteRio and SPArte (soloproject) Brazil; ArtBO, Colombia; ArtLima-Peru; Vienna Artfair, Austria; Artissima, Italy or Untitled Miami (USA). In the words of the artist, "In my work there is a process of dissection, of discovery of objects, materials, materials in all their layers until I manage to see them from the inside. I speak of a clearing sometimes of their plasticity, sometimes of their history, sometimes of their function, sometimes of everything simultaneously. Often I do this through a process of poetic reorganization of the processes of collecting, systematizing and inventorying everyday materials and materials altered by industrial, natural, chronological and atmospheric processes - I emphasize their singularities, what characterizes them and makes them unique. Sometimes I freeze them in isolation in a specific state of the analysis process; other times, in a kind of experimental game, putting them in dialogue with other objects, I create narratives that can be documentary or fictional".

Estim. 8 000 - 10 000 EUR

Lot 83 - "SIXEART" (Badalona, Barcelona, 1975). "Studies of an unemployed dog", 2010. Mixed media on canvas. Signed in the lower left corner. Measurements: 100 x 73 cm; 104 x 77 cm (frame). Sixeart or Sixe Art, Sergio Hidalgo Paredes, is a self-taught multidisciplinary artist. He began his artistic career in the eighties, painting graffiti in the streets of Barcelona. A decade later, in the mid-nineties, he began to experiment with sculpture and painting, until in 1998 he saw the need to open his own studio, which has allowed him to define himself as a visual artist. Sixeart expresses with his work a universe of his own through various disciplines; from his beginnings, his artistic language has evolved to become what it is today: an abstract universe of color endowed with forms and symbologies, which breathes simplicity and complexity at the same time. His pictorial work is a balanced mixture of figurative and abstract, extremely rich in sensitivity. Sixeart starts from his experiences in the urban landscape as the main creative stimulus; his days in his city, Barcelona, the melancholy of the city, his concerns about evolution and its consequences, genetic manipulation, a romanticism for the world that is left behind, the images that are lost in time... all this configures his personal plastic universe. This artist belongs to El Equipo Plástico, together with Nuria Mora, Nano4814 and Eltono, and since 2000 he has held exhibitions in Spain, Germany, France, Italy, the United States, Belgium, Denmark, England, Brazil, Peru and Mexico. His latest exhibitions include "New World - Intercontinental Transmutation" (A.L.I.C.E. Gallery, Brussels, 2010), "From Chillida to Sixeart" (Mayoral Gallery, Barcelona, 2009), "Warriors" (N2 Gallery, Barcelona, 2009). Also, in 2008 he exhibited with Blu, Faile, JR, Nunca and Os Gémeos at the Tate Modern in London, in the exhibition "Street Art".

Estim. 6 000 - 7 000 EUR

Lot 84 - JUAN CORTÉS AMAYA (Santa Coloma, Barcelona 2009). "Ensueño", 2020. Acrylic on canvas, Attached certificate issued by the artist. Signed in the lower middle area. Titled and dated on the back. Measurements: 100 x 100 cm; 106 x 106 cm (frame). At his young age he has already exhibited in international fairs, galleries and museums, as well as in Monaco, Italy, Melilla, Madrid, Badalona and Barcelona, the latter in Casa Seat. His works are already in private collections of famous people such as the footballer Samu Catillejo, the singer Diego el Cigala, the actor Moreno Borja, the singer Rasel, the dancer Rafael Amargo, the singer Nani Cortes, and big businessmen. Originally from Santa Coloma de Gramanet, Barcelona, this child prodigy painted his first work at the age of 6. At the age of 10, Juanito has perfected his technique and continues to produce "action painting" pictorial works, which are being exhibited for the first time in an art gallery in Madrid and will soon be presented again to the Spanish public in Seville and will travel to the American continent to be exhibited in New York City. At his young age he has already participated in several exhibitions. Group exhibitions: Spectrum, from September 12 to 29, 2018 at Santana Art Galler. Miradas creativas" from October 4 to 20, 2018 at Santana Art Gallery. Navidarte" from December 21, 2018 to January 5, 2019 at Santana Art Gallery. International Art Festival" from March 21 to April 5, 2019 at Santana Art Gallery. International opening exhibition (second part) from July 3 to July 16, 2019 at OCCO Art Gallery.

Estim. 5 000 - 6 000 EUR

Lot 85 - TANIA FONT (Palamós, Catalonia, 1978). "In deconstruction XV". Cement, iron, wood, paper and different patinas. Signed on the back. Measurements: 70 x 64 x 40 cm. Tania Font explores with her work the lack of communication. The impacts of reality (noises, climatological phenomena, sentimental or vital impacts) in the mind of individuals through the subjective look, the personal experience told with volume instead of text or words. Tania Font graduated in Fine Arts, specializing in drawing at the Faculty of Fine Arts of San Jordi in Barcelona, education that she completed with numerous courses in digital creation, jewelry and ceramic techniques. He has also trained with the painter Manel Alcántara and the sculptor Rodrigo Gordo among others. She came into contact with art at the Círculo Artístico de Palamós, where she began to work with drawing as a student of Eduard de Cabrera. She was a student of the landscape painter Isidre Vilaseca. She had her first collective exhibition at the Patrick Domken Gallery in Cadaqués. She has been resident of the factory of creation Nau Bostik. He has collaborated in the monographic exhibition of Josep Clarà at the Can Mario Museum of the Vila Casas Foundation in 2020. He has also participated in fairs such as Estampa, Volta Art Fair Basel, Art Montpellier.

Estim. 6 000 - 7 000 EUR

Lot 86 - JAUME PLENSA (Barcelona, 1955). "Invisibles I". Engraving. Barberá edition, Barcelona. With stamp. Signed and dedicated. It presents wrinkles in the paper. Measurements: 100 x 71 cm. Jaume Plensa studied at the School of La Llotja and at the Superior of Fine Arts of Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

Estim. 3 500 - 4 000 EUR

Lot 87 - JAUME PLENSA (Barcelona, 1955). "Atlantic Ocean", 2001. Grease pencil on paper. Signed and dated in the lower left corner. Measurements: 98 x 61 cm; 101 x 63,5 cm (frame). In this work by Jaume Plensa, the globe adopts the appearance of a human face. Its eyes look upwards, as if to tell us that there is something beyond what we know, an unknown, enigmatic and unfathomable universe for human beings. Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

Estim. 9 000 - 10 000 EUR

Lot 88 - JOSÉ MANUEL BROTO (Zaragoza, 1949). Untitled, 1989. Acrylic and collage on canvas. Signed and dated on the back. Measures: 146 x 144 cm. Aragonese painter who was part of the new abstraction of the 1970s, and one of the most significant figures in contemporary Spanish painting, José Manuel Broto studied at the School of Arts and Crafts in Zaragoza, and exhibited his work for the first time in 1968 (Galdeano Gallery), showing a style in line with constructivism. In 1972 he moved to Barcelona, where he founded the group Trama together with Javier Rubio, Xavier Grau and Gonzalo Tena. With this group he presented his work in 1976 at the Maeght gallery in Barcelona, with the support of Antonio Tàpies. Trama also published an art magazine of the same name, of which, however, only two issues appeared (1976-1977). However, after the dissolution of the group, Broto moved towards a language close to abstract expressionism, which incorporated a primitive natural landscape into his work. He showed these new works in his first solo exhibition in Paris, held in 1984 at the Adrien Maeght gallery. The following year he left Barcelona and settled in the French capital, where he spent ten years and coincided with other Spanish artists such as Barceló, Campano and Sicilia. During his Parisian period Broto replaced the romantic themes with more austere and abstract forms, and his work became filled with organic forms related to the ascetic and mystical tradition. In the mid-1980s he returned to Spain, this time settling in Mallorca. Already a mature artist, he practises a neo-abstraction directly linked to the Catalan school of the seventies, influenced in its origins by the aesthetic and plastic principles of the French group Soporte/Superficie, which in 1966 called for a return to painting after the disorder produced by the conceptual movements. From 1998 onwards, his range of themes expanded to include spatial figures, transparencies, atmospheric forms, etc., combined with a colourful treatment and a rigorous structure. Throughout his career, Broto has held numerous exhibitions, and has been awarded the National Prize for Plastic Arts (1995), the ARCO Prize of the Critics' Association (1997) and the Aragón Goya Prize for Engraving (2003). In 1995 the Reina Sofía Museum in Madrid dedicated a retrospective exhibition to him. He is currently represented in the Museo de Arte Abstracto Español in Cuenca, the FRAC (Midi-Pyrénées, France), the Chase Manhattan Bank Collection in New York, the Juan March Foundation, the Reina Sofía, the Metropolitan Museum in New York, the Fond National d'Art Contemporain in Paris, the Kampo Collection in Tokyo, the Tàpies Foundation in Barcelona, the DOVE Collection in Zurich, the Ateneum in Helsinki, the Peter Stuyvesant Foundation in Amsterdam, the Maeght in France, La Caixa in Barcelona, the Preussag in Hanover and the IVAM in Valencia.

Estim. 9 000 - 11 000 EUR

Lot 89 - JOSÉ MANUEL BROTO (Zaragoza, 1949). Untitled, 1986. Acrylic on canvas. Signed, dated and located (Paris) on the back. Size: 95 x 130 cm; 97 x 132 cm (frame). With an image of gestural character, the author does not limit himself to a composition but goes further, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the frontiers of the purely pictorial, a gestural stroke associated with colour as a plastic value of substance. At the end of the eighties, Broto's work was characterised by his preference for large formats, in which he puts diffuse and organic forms in dialogue with geometric elements, as can be seen in this work where different elements seem to cohabit in an indeterminate and inconcrete space. An Aragonese painter framed within the new abstraction of the seventies, he is considered one of the most significant figures of contemporary Spanish painting. José Manuel Broto studied at the School of Arts and Crafts in Zaragoza, and exhibited his work for the first time in 1968, showing a style in line with constructivism. In 1972 he moved to Barcelona, where he founded the group Trama. However, after the dissolution of the group, Broto moved into a language close to abstract expressionism, incorporating a landscape of primitive nature into his work. He showed these new works in his first solo exhibition in Paris, held in 1984 at the Adrien Maeght gallery. Since 1985 he has lived and worked in Paris. Settled in Paris, he soon overcame the so-called "abstract impressionism" of the early eighties and freed himself from the elements which, after his trip to Italy (1982), were added to his iconographic and chromatic repertoire, giving rise to a series of paintings with a markedly romantic tone. After ten years in the French capital, during which he coincided with other Spanish artists such as Barceló, Campano and Sicilia, he moved to Mallorca. With the use of large formats, the next step in his work is the recovery of an abstraction with a strong chromatic content and the advance in the spatial definition of his canvases, as shown in Capricho (1987) and La misión (1988). He has been awarded the National Prize for Plastic Arts (1995), in 1997 he was awarded the ARCO Prize by the Critics' Association, and in 2003 the Aragón Goya Prize for Engraving. In 1995 the Reina Sofía Museum in Madrid dedicated a retrospective exhibition to him. He is currently represented in the Museo de Arte Abstracto Español in Cuenca, the FRAC (Midi-Pyrénées, France), the Chase Manhattan Bank Collection in New York, the Juan March Foundation, the Reina Sofía, the Metropolitan Museum in New York, the Fond National d'Art Contemporain in Paris, the Kampo Collection in Tokyo, the Tàpies Foundation in Barcelona, the DOVE Collection in Zurich, the Ateneum in Helsinki, the Peter Stuyvesant Foundation in Amsterdam, the Maeght in France, the La Caixa Collection in Barcelona, the Preussag in Hanover and the IVAM in Valencia.

Estim. 13 000 - 14 000 EUR

Lot 90 - ADRIAN SCHIESS (Switzerland, 1959). "Printemps. 2000. Oil and material on canvas. Size: 30 x 50 cm. Schiess rescues colour from the formal limit in a large part of his works, which takes on special emphasis in "Printemps", where he takes advantage of the random roughness of the surface, evoking through colour and matter the surface of the seabed, although it could also be the ocean waves on a spring day, with its characteristic cerulean blue. Schiess has experimented with all kinds of textures, studying the perceptual effects through the pouring of pictorial matter. Through the titles Schiess suggests landscapes, hidden behind the abstract appearance. The artist argues that his works can neither be defined as paintings nor as sculptures. He even sometimes exhibits them on the floor instead of on the wall. It is a work that is born out of dialogue with each visitor: "I don't consider the panels as pictorial objects. They are things next to other things. They are paintings whose shiny surfaces reflect reality", explains the artist. Adrian Schiess, born in Zurich, lives and works in Mouans-Sartoux, France. His work flirts with a variety of formats (photography, canvas, reflective coloured boards...) but with a single objective: to deal with the appearance of the real. Within contemporary art, they show a commitment to abstraction, which, according to Adrian Schiess, is the only way to show that which is not subject to any extrinsic determination of its own. Schiess has had solo exhibitions at the Fonds Régional d'Art Contemporain PACA, Marseille, France, the Bündner Kunstmuseum, Chur, Switzerland, the Musée d'Art Moderne, St. Etienne, France, Indianapolis, USA, and the Musée d'Art Moderne, St. Etienne, France. St. Etienne, France, Indianapolis Museum of Art, Indiana, Städtische Galerie Nordhorn, Germany, Villa Merkel, Galerien der Stadt Esslingen, Kunstmuseum Solothurn, Switzerland, Fundación la Caixa, Barcelona, Neues Museum, Staatliches Museum für Kunst und Design, Nürnberg, Kunsthaus Bregenz, FRAC Bourgogne, Dijon, France, Neue Galerie am Landesmuseum Johanneum, Graz, The New York Kunsthalle, New York, Kunsthalle Zurich, Switzerland, and numerous institutional group exhibitions worldwide.

Estim. 12 000 - 14 000 EUR

Lot 91 - MIQUEL MONT (Barcelona, 1963). "Peau XXVIII. Paris, 2003. Acrylic and gel on plywood. Signed, dated, titled and located on the back. Work reproduced on the artist's website. Provenance: Important Spanish Collection. Measurements: 200 x 200 cm. This painting belongs to the series "Skins", which Miquel Mont himself defines as follows: "A pictorial support (plywood, canvas,...) is perforated at regular intervals according to a weft. This weft is off-centre or displaced in relation to the limits of the support. It is covered with several layers of thick, dense paint until the holes in the weft are filled or smoothed out". Miquel Mont's painting is based on theories of pictorial perception, specifically those that place the work and the space, the representation and the support in dialogue. In his exhibitions, the pieces "inhabit" the wall, escaping from their traditional function as a painting. Miquel Mont began painting in the 1980s. At the end of this decade he moved to Paris, where he has worked and lived ever since. From then until the end of the 1990s, his works are worked so densely that they end up becoming three-dimensional objects. Since 2000 he has combined his artistic work with teaching, currently teaching at the École Supérieure d'Art et de Design TALM-Tours and the École Nationale Supérieure d'Architecture de Paris-Belleville. He has held exhibitions all over Spain, for example at the Centre d'Art la Panera; or in France, in spaces such as the Galerie Aline Vidal or the FRAC Alsace; but also in Austria. Along the same lines, his works can be found in numerous collections, such as the "la Caixa" Collection, the Museum of Fine Arts of Alava or the Mumok. In his works, industrial materials are presented naked, showing their roughness and the economy of means that characterises the artist's work. Methacrylate or wood become tools that break the frames of presentation to expand and dialogue with the space where they are presented. Selection of solo exhibitions: 2019 Galerie HUS, ESADHaR, Rouen, France Horizontal, Miquel Mont Guillermo Mora, La Fragua, Tabacalera, Madrid -Mal Tiempo, Galeria Trinta, Santiago de Compostela. 2018 Traces et affects, Artothèque de Vitré, France 2017 Lo peor, lo peor de todo, Galeria Altxerri, Donostia 2016 La economía dicta todo, Formato Cómodo, Madrid 2015 Fundació Suñol, Barcelona. Selection of group exhibitions: 2019 La Ronde, Musée des Beaux-Arts de Rouen, France. 2018 De(s)rives, un parcours à l'île Saint Louis, Galerie Aline Vidal, Paris, France 2016 Abbaye St André, Centre d'art Contemporain, Meymac, France. 2014 Le Mur, collection Antoine de Galbert, La maison Rouge, Paris, France 2013 A promise of change, commissaire Alain Coulange, Belfort, France.

Estim. 12 000 - 14 000 EUR

Lot 92 - KENDELL GEERS (South Africa, 1968). "Mutus Liber," 2016. Indian ink and gesso. Measurements: 50 x 15 x 15 cm. This sculpture is inspired by an African fetish, which Kendell Geers imbues with notorious political charge by combining white primer and dripping in black ink, alluding to the silent tears that have been shed for decades in Africa, due to the suffering of the natives caused by colonial practices in the different countries of the continent, but above all, referring to apartheid in South Africa, the author's country of origin. In aesthetics and concept, in Geers' work African animist practices merge with European avant-garde traditions. The titles of his sculptures belonging to the series "Mutus Liber", which means "Dumb Book", are sufficiently explicit. Kendell Geers describes himself as an "AniMystikAKtivist", weaving together diverse Afro-European traditions, spirituality, activism and mysticism. Geers was born in Germiston (South Africa) and currently lives and works in Brussels. At the age of fifteen he ran away from home to join the anti-apartheid movement, eventually fleeing the country for London and then New York. At the 1993 Venice Biennale she officially changed her date of birth to May 1968, a momentous year in world history for political protest and equality. This act represented Geers' rejection of the cultural heritage that had shaped her upbringing and her rebirth as an artist and activist. Geers' paintings, sculptures and interventions, spanning a wide range of media, employ wordplay and densely layered motifs to expose ideological structures. Using diverse references-from art history, linguistics, poetry, protest, and play-his works question artistic value and mock notions of originality. His work reveals a sharp humor, combining the raw energy of punk with the spiritual philosophy of poets such as Arthur Rimbaud, William Blake and William S. Burroughs. Art can "change the world, perception by perception." Geers exhibited at the 2022 Setouchi Triennale and the 2021 Bruges and Kortrijk Triennales in Belgium. Love, By Any Means Necessary," the artist's sixth solo exhibition at Stephen Friedman Gallery, opened in February 2020. A major retrospective of his work curated by Okwui Enwezor was held at the Haus der Kunst in Munich in 2013. He participated in Documenta 14 in 2017 and Documenta 11 in 2002 in Kassel, Germany. Geers' work was included in the Venice Biennale in 2019, 2007 and 1993. Some works in public collections: "Brick" 1988, Johannesburg Art Gallery, Johannesburg, South Africa "T.W. (I.N.R.I.)" 1994, Centre Pompidou, Paris, France. "Tears for Eros" 1999, Art Institute of Chicago, USA "T.W. (Scream)" 1999, Stedelijk Museum voor Actuele Kunst, Ghent, "Akropolis Redux (The Directors Cut)" 2004, National Museum of Contemporary Art, Athens, Greece . "Monument to the Unknown Anarchist" 2007, BPS22 Collection, Charleroi, Belgium. "Mutus Liber 953" 2014, Museum of Contemporary Art, Antwerp, Belgium.

Estim. 12 000 - 14 000 EUR

Lot 93 - BERNARDÍ ROIG (Palma de Mallorca, 1965). Untitled, ca. 2010. Polyester resin, light. Sculpture-installation. Measurements: 28 x 22 cm (head). This piece is part of one of Bernardí Roig's most emblematic sculptural series: full body figures or heads whose white color refers to absence (to ghostly presence); and the fluorescent light as a symbol of human blindness, of the deficits of historical memory and the crisis of collective identity. The face conveys realistic, almost naturalistic features, since the author always relies on real people, on friends he takes as models. Bernardí Roig is considered one of the most relevant contemporary Spanish artists on the international scene, having exhibited in numerous galleries, museums and institutions around the world. His production includes painting, installations, video and even essayistic drift. He has been awarded important prizes such as the Special Prize of the Fundació Pilar i Joan Miró, the Sotheby's, the Egypt Biennial in 2001 or the official prize of the XXI International Biennial of Graphic Art of Slovenia. Since the mid-nineties, he has held solo exhibitions in leading galleries, museums and art centers such as the Miró Foundation (1995), the Totem il Cannale hall in Venice (1996), the Museum of Contemporary Art and Design of San José in Costa Rica (1997), the Ludwig Foundation in Havana (1999), the Jacobo Borges Museum in Venezuela (2000), the Fine Arts Museum in Oviedo (2000), the Max Estrella Gallery in Madrid (2000), the Adriana Schmidt Gallery in Cologne (2000), the Claire Oliver Gallery in New York (2002) and the Ludwigsburg Museum in Stuttgart (2002). He has also taken part in the Venice Biennial (2001), the Egypt Biennial (2001) and the Arco fair in Madrid. He is currently represented in the AENA, Miró and La Caixa foundations, the Jacobo Borges and Sofía Imber museums in Venezuela, the Ministry of Culture in Mallorca, the Saikade Museum in Japan, the Gille Collection in Belgium, the Ludwig Foundation in Cuba and the Museum of Contemporary Art in Costa Rica.

Estim. 15 000 - 20 000 EUR

Lot 94 - GEORGES ROUSSE (Paris, 1947). "Luxembourg: Fers à Bétons", 2004. Print on aluminum, copy 1/5. Signed and titled on verso. Label with stamp on the back. Measurements: 160 x 125 cm; 165 x 132 cm (frame). Georges Rousse's work is characterized, since the beginning of the eighties, by the relationships he establishes between photography, painting, sculpture and architecture. His interest in abandoned, dismantled and ruined places, as well as in what these spaces reveal about the culture that has generated them, led him, in 1986, to settle for a time in the former Van Gogh psychiatric hospital in the French town of Arles. The result of this stay was the Arles series, which was the starting point of the MACBA exhibition. His work is a very significant example of the importance that photography achieved throughout the eighties and further proof of the value of the photographic device as a tool for contemporary creation. Collapsing the usual restrictions among artistic media, his unique work quickly made its mark on the contemporary art world. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, in Asia (Japan, Korea, China, Nepal), in the United States, in Quebec and in Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Drawing Prize Salon de Montrouge 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world. Label with stamp on the back.

Estim. 15 000 - 18 000 EUR

Lot 95 - TERRY HAGGERTY (London, 1970). "Stroke, New York, 2008. Acrylic on canvas. Signed, dated, located and titled on the back. Size: 183 x 164 cm. Terry Haggerty's paintings combine in a novel way the phenomenological approaches of Op Art and Minimalism. In them he intersperses monochrome lines which, in counterpoint with the white and through a soft curvature, create the illusory perception of three-dimensionality, achieving the sensation of volume and depth. Technically, his production stands out for the precision of his manual work, with measured, meticulous and calibrated forms. Following the artist's own statements about his works exhibited at the Ivorypress space in Madrid, "I focus a lot on space and deceive the viewer; I try to make him struggle to maintain the horizontality of the object and end up accepting that a piece that seems to be folded on itself and floating in the air is in reality a flat element made of wood", Trained at Cheltenham School of Art, Terry Haggerty has a long-standing reputation. He has exhibited widely in galleries and museums around the world, including Sikkema Jenkins, New York; Max Hetzler, Berlin; Hammer Museum, Los Angeles; Aldrich Museum, Connecticut; and PS1, Long Island City. His commissions include wall drawings for Dallas Cowboys Stadium, Munich Re, London, and private collections in the United States and Germany. Haggerty has also received several awards, including the For-Site foundation Award (2009), the John Anson Kittredge Award (2003) and the Natwest Art Prize (1999). He is currently represented in the following collections: Collection Charles Schwab & Co, Inc Corporate Headquarters, San Francisco, CA Collection Hoofddorp cultural center, Haarlemmermeer, The Netherlands Collection KKR, Menlo Park, CA Munich Re Art Collection, London, United Kingdom Collection Paul & Stacy Jacobs, San Diego, CA Sammlung Haubrok, Düsseldorf, Germany The Art Collection Cowboys Stadium, Arlington, TX Haggerty currently lives and works in Berlin. His work has been exhibited widely in galleries and museums around the world, including solo presentations at the Norton Museum of Art, West Palm Beach, FL; Modern Art Museum of Fort Worth; and Hammer Museum, Los Angeles.

Estim. 20 000 - 25 000 EUR

Lot 96 - LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971). "Sailor with a boat", c. 1954. Mobile sculpture made of metals (bronze, iron and aluminium), Attached is a certificate issued by Doña Martha Flora Carranza Barba, granddaughter of the artist. Presents stamp and stamped signature of the artist. Measurements: 83.3 x 50 x 18 cm. Loló Soledevilla was the first person in Cuba, and one of the first in Latin America, to introduce sculptures that were completely interactive. In this case the work is presented by the artist as a metallic collage where each of the elements has independent movement, which allows the spectator to interact with the work from a playful perspective, a characteristic that was frequent in Soldevilla's sculptural work, who was interested in the spectators of her work being able to access her pieces in a personal way, thus intervening in the creative process. In this particular case, the author starts from figuration, creating a boat through the use of forged and assembled metals, thus extolling the values of the craft tradition and its culture. Her artistic career has always been marked by experimentation, not only stylistically but also technically, and she produced works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Académie Grande Chaumière, making frequent trips and exhibitions in Cuba to show his work. In 1951 she joined the workshop of Dewasne and Pillet, where she stayed for two years, and attended a course on printmaking techniques by Hayter and Cochet, maintaining and encouraging creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as an editor and during the academic year 1960-61 she established herself as a professor of plastic arts at the School of Architecture of the University of Havana. From then on, Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the newspaper Granma. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the group Diez Pintores Concretos; she was a member of the UPEC and the UNEAC and collaborated with Bohemia. During his lifetime his work was exhibited in important artistic spaces such as the Palacio de Bellas Artes in Cuba, in Caracas (Venezuela), Paris, in Valencia, Valladolid (Spain), Czechoslovakia, etc., achieving great recognition of his work at a global level. Today his work is preserved in numerous private collections all over the world and in institutions such as the Museo Nacional de Bellas Artes de Cuba (where the main collection is kept).

Estim. 20 000 - 25 000 EUR

Lot 97 - MARK JENKINS (Virginia, 1970). "Like father like son," 2017. Pair of mixed media sculptures. Measurements: 180 x 90 x 50 cm (the largest). "Like father like son", could be the alternative title of "Like father like son", a pair of hyperrealistic sculptures representing a boy and a man who hide their identities behind a balaclava, wearing casual clothes and holding in one hand a metal bar. The black color that covers the figures turns them into metaphorical shadows, into mental projections of the collective fears that grip us in the cities. Mark Jenkins gained fame and notoriety for this type of street characters (vagrants, hooded, suspicious characters for their appearance or for adopting strange postures) that he placed in the public space without prior notice and that on numerous occasions brought into action the police, firemen or ambulance corps. Mark Jenkins is an American artist who creates street sculptural installations. He uses the "street as a stage", where his sculptures interact with the environment, including passers-by who unwittingly become actors. His installations often attract the attention of the police. His work has been described as whimsical, macabre, shocking and situationist. Jenkins cites Juan Muñoz as his initial inspiration. In addition to creating art, he also teaches his sculptural techniques and installation practices through workshops. He currently lives in Washington, DC. In 2005 he began working with Sandra Fernandez on the Storker Project, a series in which transparent casts of toy babies are installed in different cities to interact with the environment around them[10]. Jenkins and Fernandez went on to create other installations with ribbon animals: dogs playing in garbage, giraffes nibbling plastic bags from trees, and ducks swimming in ditches. Other outdoor projects exploring cultural interference include Meterpops, Traffic-Go-Round and Signs of Spring. In 2006 Jenkins began the Embed series. Tape casts were filled with newsprint and cement and dressed to create hyper-realistic sculptural duplicates of himself and Fernandez. These new highly realistic sculptural installations created confusion and caused some passersby to call 911, resulting in police and, on occasion, rescue units arriving on their "scene." In 2008 Jenkins collaborated with Greenpeace on an awareness campaign, Plight of the Polar Bears, to draw attention to the melting of the Arctic ice caps. Jenkins created realistic figures that looked like homeless people, but with stuffed polar bear heads. Jenkins has participated in public art events such as Interference (Barcelona, 2008), BELEF (Belgrade, 2009), Dublin Contemporary 2011, Inside Out(Southeastern Center for Contemporary Art, Winston-Salem, 2009), Living Layers (Rome, 2012), Les Vraisemblables(Nuit Blanche, Paris, 2014), Passages Insolites (Ex Muro, Quebec, 2021) Embed Bodies (Un Été au Havre, Le Havre, 2022). In interiors, Jenkins has exhibited internationally in galleries and museums, as well as continuing his Embed series in public settings such as cafes, schools and building lobbies. Solo exhibitions include Glazed Paradise at Diesel Gallery (Tokyo, 2008), Meaning is Overrated at Carmichael Gallery (Los Angeles, 2009), Terrible Horrible at Ruttkowski, Gallery (Cologne, 2014), Moment of Impact at Lazarides Gallery (London, 2015), and Remix at L'Arsenal (Montreal, 2016). In 2018, he and Fernandez created Project84, in London, England The work was designed to raise awareness of adult male suicide. Commercially, Jenkins collaborated with fashion brand Balenciaga.

Estim. 20 000 - 22 000 EUR

Lot 98 - XAVIER MASCARÓ (Paris, 1965). "Warrior" 2014. Cast iron. Measurements: 164 x 60 x 60 cm. Xavier Mascaró has developed a large corpus of warriors and guardians that have been seen in the public space of many cities and in international exhibitions. Armies of guardians have been seen in the Paseo del Prado in Madrid (2010) or in front of the Can Framis Museum in Barcelona (sculptures donated to the city by the Fundació Vila Casas). But, unlike these seated warriors in an attitude of meditation, the "warrior" shown here advances one leg in a marching attitude, as if the ancient ghost that once wore the full body armor came to life. Marcaró imprints a patina on the material with which he simulates the rust of a mysterious antique, perhaps from an unknown civilization or from a shipwreck rescued from the bottom of the sea. In this striking warrior, as in the rest of his production, Mascaró dialogues with the heritage of material culture. The peculiar use of iron gives his totemic creations a disturbing character that leads us to reflect on memory and history. Xavier Mascaró is a Spanish sculptor and painter born in Paris of French, Romanian and Catalan descent. He has lived in Madrid, New York, London and Mexico City. In 2002 he was awarded a scholarship to attend the Spanish Academy in Rome. He currently lives and works in his studios in Mexico City and Lisbon. He has a great recognition by the critics and the public, having exhibited in major art centers in places like Paris, Caracas, Vienna, Monte Carlo, Cartagena de Indias, Madrid, New York and London, London, Madrid, Seville, in places as recognized (both in galleries and museums as in public spaces) as the Saatchi Gallery (London), the Royal Palace (Paris), the Kunsthistorische Museum (Vienna), Warehouse 421 (Abu Dhabi), the Marlborough Gallery (New York and Madrid), Paseo de Recoletos and Paseo del Prado (Madrid) and the Museo del Templo Mayor and the Cultural Center of Spain (Mexico City). In 2014 he had a solo exhibition at the Saatchi Gallery in London. Mascaró is one of Spain's contemporary sculptors with the greatest international presence "Mascaró's work refers to the human through the timeless, to what remains of who we were, or to what of who we are we recognize in our remote past. His artistic project formally transports us to the past, proposing, however, a multiplicity of readings that confront us with the present" as described by the Wurt Museum, which recently dedicated an exhibition to the artist.

Estim. 20 000 - 22 000 EUR

Lot 99 - MIGUEL ÁNGEL CAMPANO (Madrid, 1948 - 2018). Untitled. Set of 62 oil paintings on canvas. Signed and numbered on the back. Measurements: 30 x 21 cm (each). As can be seen in this set of 62 canvases, from the 90's onwards Campano's work underwent different processes of stripping: on the one hand, references to tradition were cut and, on the other hand, color was excluded from his painting, working only black on the bare canvas. Geometry, on the other hand, became a key aspect of his production. Miguel Ángel Campano is one of the referents of the so-called renovation of Spanish painting, which took place in the eighties and in which Ferrán García Sevilla, José Manuel Broto, José María Sicilia and Miquel Barceló also participated. In the 70's he moved to Paris thanks to a scholarship; the planned year became a stay of more than ten, there he lived and developed his brilliant pictorial career. Then he went to live in Mallorca. In 1980 he was part of the exhibition Madrid DF, in the Municipal Museum of Madrid, along with several artists among whom were the same ones that today -except García Sevilla- accompany him in the Palacio de Velázquez. Five years later he was selected, together with other fellow artists of his generation, then all young painters, such as Miquel Barceló, who was already an outstanding figure, and José María Sicilia, for a group exhibition in New York. In 1996 he was awarded the National Prize for Plastic Arts. He had just suffered a serious stroke and underwent surgery in Madrid. This forced him to spend several months without painting. Then he painted "only in black", a very symbolic color according to his own words. Three years later, the Reina Sofia Museum organized in this same Palacio de Velazquez an exhibition dedicated to his recent work then, that of the 90s. His works are exhibited in the most important museums, such as the British Museum in London, the Pompidou Center in Paris and the Centro de Arte Contemporáneo Reina Sofía in Madrid.

Estim. 60 000 - 70 000 EUR

Lot 100 - JOSE MARIA SICILIA (Madrid, 1954). Untitled, 2000. Mixed media (oil and wax) on wood. Signed on the back. Dated and located (Soller). Provenance: Joan Prats gallery in Barcelona. Measurements: 252 x 160 cm; 252 x 162 cm (frame). Light and darkness, chaos and cosmos, order and chance, are the obverse and reverse of the vital and artistic philosophy of José María Sicilia. In this large format composition, cosmic latency and mystical light are suggested by the use of wax (which Sicilia always understood in its plastic symbolism of trace, poetry, transience and memory) on a dark background like the night sky. Sicilia began her studies at the School of Fine Arts in Madrid, although in 1980 she abandoned them and moved to live in Paris. Two years later he presented his first solo exhibition, in a style in line with the neo-expressionism then fashionable in Europe. It will be in the mid-eighties when his work reaches a great national and international projection. In 1986 he presents at the Blum Helman Gallery in New York a group of works that shows a strong purification of the previous style, towards an abstract painting in which he will progressively eliminate any formal reference. In the nineties this reductionist aesthetic will affect the chromatic range, leaving the forms suggested by the reflection of light on the surface. A new material treatment of subtle poetic resonance, based on waxes that let floral themes slightly transparent, brings color back to an already fully consecrated work. José María Sicilia has been awarded the Premio Nacional de Artes Plásticas (1989), and is represented in the Reina Sofía Museum in Madrid, the MOMA and the Guggenheim in New York and the CAPC in Bordeaux, among many other art centers and museums.

Estim. 60 000 - 70 000 EUR

13th May - Contemporary Art

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