25th June - Private Collection; The Road to Modernity

Lot 1 - ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968). "Coastal landscape, Nice". 1928. Oil on canvas. Signed and dated in the lower margin. Measurements: 84 x 98 cm; 100 x 112 cm (frame). The coast of the Côte d'Azur is impregnated in this composition with an almost surreal character, not by the presence of any manifest oneiric element but by the metaphysical cadence of the atmosphere. The sea is a cobalt-blue tongue furrowed by sailboats whose whiteness is infected by the stone balustrade. It marks the perimeter of a garden populated by stone pines and sienna-colored earth. A fragment of turquoise blue sky is silhouetted behind the dense canopy of trees. Ismael De la Serna combines here a brushstroke of Cezannian heritage with a great ability to synthesize forms (which indicates his passage through cubism). However, at this time he was also exploring surrealism, and some of this is palpable in this landscape. Without ascribing himself to any particular movement, he only remains faithful to his own versatility, which results in a highly personal way of doing things. Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, which draws from impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what would be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo de Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the protector of the painter from Granada. De la Serna's style was, in this period, permeable to the influences of the avant-garde, mainly cubism and expressionism, which he worked in a very personal way. Likewise, the initial influence of impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong projection of his work, which began with the solo exhibition that the painter held at the influential Parisian gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition is to be found in his sensual reading of the forms of cubism, based on the relevance of a drawing of sinuous and highly decorative lines, combined with strong chromatic hallmarks. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly represented still lifes, where he accentuated the sensory side of his painting with metaphorical sensory references, such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating with a solo exhibition the activities of the Association of Iberian Artists in Madrid in 1932, the painter undertakes new ways of plastic experimentation that will lead, after the Second World War, to a more schematic and simplified painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM, etc.

Estim. 8 000 - 10 000 EUR

Lot 2 - ALEXANDER CALDER (United States, 1898 - 1976). "Taches de Rousseur." Lithograph, copy 81/100. Signed and justified in pencil. Measurements: 53 x 72 cm; 68 x 87 cm (frame). Calder was formed in the Art Students League of New York, and in 1926 he realizes his first exhibition of painting, in the New York The Artist's Gallery. Before the end of the year he began his trip to Europe, which allowed him to meet the great figures of the time, such as Miró, Duchamp and Mondrian. Calder is one of the most renowned artists of the 20th century, with works in all the great collections of the world. From the MoMA in New York, where one of his sculptures decorates the main staircase, to the UNESCO headquarters in Paris. Other centers where he is represented are the Guggenheim Museum in New York, the Peggy Guggenheim Collection in Venice, the Städel in Frankfurt, the Kunstmuseum in Basel, the Reina Sofía in Madrid and the Tate Gallery in London.

Estim. 2 500 - 3 000 EUR

Lot 3 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Message, 1977. Ink on paper. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 23,5 x 27,5 cm: 55 x 62 cm (frame). In 1977, Miró was in a consolidated period of his artistic career, having received that same year the Gold Medal for Merit for his work. During this period, the decade of the seventies, his painting turned towards a more evocative aesthetic, populated by ethereal forms that are reduced to lines and dots that manage to conceptualize and capture organic bodies, typical of nature. This fluid line that can be seen in this painting is characteristic of the period, in fact, it can be found in several of his works, as for example in the piece entitled "Femme, oiseau", which belongs to the collection of the Centre Pompidou in Paris. Joan Miró was one of the great figures of 20th century art at an international level. He was trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more innovative spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the artistic promoter Joan Prats. Thus, since his formative years he was directly related to the most avant-garde circles of Barcelona, and already in the early date of 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These would be the crucial years of his artistic career, in which Miró would discover his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of surrealism, was grouped. Thus, under the influence of surrealist poets and painters, with whom he shared many of his theoretical approaches, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the thirties onwards Miró became one of the most outstanding figures of the international art scene, as well as one of the key creators of the twentieth century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures or the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon resumed the practice of painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, since 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York dedicated a retrospective to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington or the MNAM in Paris.

Estim. 9 000 - 10 000 EUR

Lot 4 - BALDOMERO GALOFRE JIMÉNEZ (Reus, Tarragona, 1846 - Barcelona, 1902). "Rest". Oil on canvas. Signed and located ("Roma") in the lower right corner. Attached certificate of the Barbier gallery. Provenance: Bernat gallery. Measurements: 77 x 43 cm; 106 x 72 cm (frame). Exquisite scene of interior, in which a young woman lying on a chaise longe contemplates her parakeet that has just escaped from a cage that hangs from the high ceiling of the room. The lady's satin dress spills over the Persian carpet, revealing her small right foot, perched on a velvet upholstered cushion. Her black hair contrasts with the whiteness of the pearls that border it. Gem-studded gold earrings and pendants sparkle against her clear, pearly skin. In her left hand she holds a mandolin, and the score remains on the table decorated with a huge porcelain vase that holds a large-leafed plant. A silk curtain shimmers with golden reflections. The preciousness of the whole is achieved by employing a tight brushstroke and a masterful use of tones. Baldomero Galofre began his training at the Escuela de La Lonja in Barcelona, where he was a disciple of Martí Alsina, and later completed his studies in Madrid. He became known in 1866 at the Fine Arts Exhibition in Barcelona, where he would participate again in 1870, and in 1868 he participated with landscapes and studies at the Aragonese Exhibition in Zaragoza. In 1874 he obtained a pension to further his studies in Rome, where he lived for ten years. There he attended the Chigi Academy and the International Circle of Art, and met Mariano Fortuny in the last months of his life, following the stylistic guidelines of his compatriot. Back in Barcelona, in 1884 he held a personal exhibition that was very well received; Narciso Oller praised his great naturalism, and showed him as an example against history painting. Four years later, in a new individual exhibition, this time in Madrid, one of his works was acquired by the Queen Regent. In 1903, in a special room in the Museum of Barcelona, Galofre presented an important exhibition of his work. He developed a luminous and detailed style, and painted landscapes and popular scenes within the orbit of Fortuny. He was also an extraordinary draughtsman. He is currently represented in the MACBA and the Art and History Museum of Reus, among other public and private collections.

Estim. 24 000 - 26 000 EUR

Lot 5 - JOAQUIN MIR TRINXET (Barcelona, 1873 - 1940). "Miravet". Oil on canvas. Signed in the lower right corner. With Barrachina & Ramoneda label on the back. Attached certificate of authenticity issued by Barrachina. Measurements: 54 x 70 cm; 80 x 94 cm (frame). Joaquim Mir dedicated to Miravet, the beautiful village of the Ribera del Ebro, some of his most appreciated paintings. The Templar castle that outlines the hill seems to merge with the rock in this magnificent composition. Also the other houses that adhere like mollusks to the stone seem to mimic it thanks to the use of a synthetic and emphatic brushstroke that scatters its reflections on the river of transparent waters. The impressionist master puts the sky in dialogue with the sea, and the foliage with the dry land. The clouds glide over the reflective surface of the water. Likewise, the emerald green bushes circumvent the preeminence of ochers, siennas and tans that vibrate with their own light. Mir displays his full personality in this landscape. Joaquim Mir studied at the School of Fine Arts of San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's hometown. He soon felt uncomfortable with the official teaching, anchored in a conception of realist painting, so in 1893 he founded together with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual) the "Colla del Safrà", to investigate together in the pictorial initiatives of the end of the century. In 1896 they came to participate as a group in the III Exhibition of Fine Arts and Artistic Industries, to which Mir presented two works that give us a clear idea of the ideals of the group: "La huerta del rector" and "El vendedor de naranjas". Also, since 1897 he frequented the artistic environment of "Els Quatre Gats", where all the artists who knew the European avant-garde met, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. From this period are "Slopes of Montjuic" (1897) and "The Cathedral of the Poor" (1898), the two masterpieces of his youth. In these years he took part in the Fine Arts Exhibitions of Barcelona, in their editions of 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital in order to compete for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, on a trip that would be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, specifically by Sa Calobra, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colors, the result of his personal interpretation of the majestic nature of the island. The brushstrokes became longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan stage individually at the Sala Parés in Barcelona, and again obtained a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. Since then, settled in Camp de Tarragona, he would not move from the landscape genre, but now the surrounding villages would be the protagonists of his painting. Already consolidated as an outstanding figure of the Catalan panorama, he acquired the definitive national recognition in 1917, when he was awarded the National Prize of Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honor at the National Exhibition in Madrid, an award he had been pursuing since 1922. Although he was mainly a native painter, he had solo and group exhibitions in Washington, Paris, Pittsburg, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the most outstanding representative of Spanish post-impressionist landscape painting. His work is preserved in the National Art Museum of Catalonia, the Prado Museum, the Thyssen-Bornemisza Museum and the Reina Sofia Museum in Madrid, among many others.

Estim. 6 000 - 8 000 EUR

Lot 6 - OSCAR DOMÍNGUEZ PALAZÓN (La Laguna, Tenerife, 1906 - Paris, 1957). "Nature morte aux fruits", 1945. Oil on canvas. Signed in the lower right corner. With label of the Sala Parés on the back. Attached certificate issued by Ana Mª Vázquez de Parga. Measurements: 30 x 40,5 cm; 58 x 68 cm (frame). Still life of Óscar Domínguez, belonging to his maturity stage. With boldness, the Canary painter reduces the world to a puzzle of cut fragments, reduced to elementary forms and applications of color by planes. Thus, plates and fountains are reduced to circles and ovals, on which cherries and rounded oranges rest. The window is a rectangle that holds a solid section of sea and a piece of sky. A curtain falls with vertical lines like stakes. The cleanness of the forms is enhanced by the use of a thick black line. It is worth mentioning that the work is certified by Ana Vázquez de Parga, who has made a great study of the works of Oscar Domínguez, highlighting her participation as curator of the exhibition "Oscar Domínguez 1926-1957, a retrospective". Domínguez belonged to the Generation of 1927, and invented the decalcomania, a pictorial technique that consists of applying black gouache on a piece of paper, which is placed on top of another sheet on which a light pressure is exerted, to finally peel off both papers before they dry. In 1927, on family business, Domínguez traveled to Paris for the first time. He returned the following year and came into contact with the surrealist movement, and especially with its central figure, André Breton. This group would mark his career until he was expelled for approaching Picasso's painting. He made his individual debut in 1933, at the Círculo de Bellas Artes in Santa Cruz de Tenerife and in Las Palmas de Gran Canaria. In 1935 he participated in the Surrealist Exhibition of Santa Cruz de Tenerife, where he signed the manifesto "Du temps que les surréalistes aviaient raison". Also important are his surrealist objects, some of which he exhibited in Paris, at the Exposition Surréaliste d'Objets de la Galerie Charles Ratton in 1936. Because of the Civil War he went into exile in France, spending practically the rest of his days in the capital. The artist lived the last years of his life as a prisoner of madness after suffering from acromegaly, a degenerative disease that deformed his physique and made his skull grow extraordinarily. On New Year's Eve 1957 he committed suicide in Paris, completely drunk, opening his veins in the bathroom of a party given by his friend, the Viscountess of Noaffles. Domínguez is today considered one of the world's greatest exponents of the Spanish historical avant-garde that developed in Paris during the first decades of the 20th century. In general, the figures and objects that make up his surrealist works contain magical, mechanistic and sexual references, many of them set in the Canary Islands landscape despite the fact that he lived most of his life in Paris. The most important contribution that Óscar Domínguez made to surrealism was the invention of decalcomania or decalcomania, a technique in which psychic automatism played an absolute leading role. This procedure had a magnificent acceptance among the surrealists who quickly adopted it and later influenced abstract expressionist painting. Decalcomania consists of introducing liquid black gouache between two sheets of paper by pressing them in an uncontrolled way. Another of his contributions to the surrealist movement was the theory of the petrification of time through which he began to introduce crystallized forms and structures of angular networks in his compositions. There are petrifactions of this style in the paintings of René Magritte.

Estim. 28 000 - 30 000 EUR

Lot 7 - CARLES NADAL FARRERAS (Paris, 1917 - Sitges, Barcelona, 1998). "Street of Paris". Acrylic on canvas. Signed in the lower right corner. Measurements: 65 x 54 cm; 80 x 90 cm (frame). In this work the artist presents us with an urban landscape following a naïf aesthetic, due to the great preponderance of color, the synthetism and rotundity of the lines and the use of perspective that is slightly distorted with respect to tradition. Thanks to these elements the artist composes an image where the elements form a landscape of avant-garde aesthetics, where the natural and the urban converge. As for the perspective, mentioned before, the painter uses an apparently frontal point of view, however, he avoids the vanishing point, reducing a sensation of spatiality with which he achieves a monumentalization of the forms. This allows a detailed vision of the volume of the buildings, building an evocative rather than representative scenario, in a composition where the fluid and free stain of color takes on an unusual prominence, filling the space and evoking changes of light and shadow, as well as a humid and clear atmosphere. The son of Santiago Nadal, a painter and decorator based in Paris, Carles Nadal has lived in Barcelona since childhood, where the family moved due to his father's illness. At the age of thirteen he began to work as an apprentice in a decorative painting workshop, and in 1936 he received a scholarship from the City Council of Barcelona to study at the School of Fine Arts of Sant Jordi. At the outbreak of the Civil War he was recruited into the Republican army, with which he fought on the fronts of Aragon and Tremp. At the beginning of 1939 he crosses the French border and is interned in the refugee camp of Saint Cyprien, where he remains for several months. He manages to escape and cross the border again, but is arrested and imprisoned in Figueras. Under parole he returns to Barcelona, where he continues his artistic career while simultaneously working as a decorator and studying Fine Arts. In 1941 he makes his debut in a collective exhibition at the Dalmau Gallery, obtaining good reviews. He finishes his studies with good grades, obtaining the recognition of teachers and professors, some of whom will become friends and collaborators of the young Nadal. In fact, it was one of them, Luis Muntané, who facilitated his first individual exhibition in 1944, at La Pinacoteca in Barcelona. Two years later he moved to Paris, again with a grant from the Barcelona City Council. There he works and exhibits with the group Présence de l'Homme, as well as participating in the Salons d'Automne. Later, thanks to a scholarship from the French State, he attends the Paris School of Fine Arts. In 1948 he married Flore Joris, establishing his residence in Brussels, where he remained until the mid-seventies. In Belgium he discovered, as he himself repeatedly stated, light and color. During these years he will continue to show his work in Spain and Belgium as well as in France, Germany, Holland, Switzerland, the United Kingdom and the United States. Nadal's painting is post-impressionist, intensely colorful, and is based on the search for chromatic force as the most direct means of communication. His awards include the Grand Prix de Spa, Belgium, and his appointment as a member of the Royal Academy of London. His works can be found in the MACBA, the Spa Museum in Belgium and the Royal Museum of Brussels.

Estim. 18 000 - 20 000 EUR

Lot 8 - MARGARET MURRAY COOKESLEY (1844-1927) "The Sultan's Darlings". 1894. Oil on panel. Signed and dated in the lower margin. Measurements: 38 x 59 cm; 55 x 76 cm (frame). The theme of the harem was profusely treated by this British painter, who visited Constantinople, and where the sultan commissioned a portrait of his son and wives, according to the historian Clara Erskine Clement. With precious technique, the author conveys the silky sumptuousness of the garments and the languor of the girls, lulled to sleep by hookah tobacco. Margaret Murray Cookesley was an English painter. She traveled to the Middle East and painted oriental scenes in oil and watercolor. She exhibited at the Royal Academy and the Society of Women Artists. She was awarded the Order of the Chefakat and the Medal of Fine Arts of the Ottoman Empire. Her work "Circe resplendens" (1913) is in the collection of the Glasgow Museums. Some of his paintings are in collections such as the Victoria Art Gallery, Bath (Frederick Harrison, Author); Towneley Hall, Burnley (The Gambler's Wife); the Walker Art Gallery, Liverpool (Cleopatra); the Graves Art Gallery, Sheffield (The Egg Seller); and Cartwright Hall, Bradford (Rich and Rare Were the Gems She Wore).

Estim. 7 000 - 8 000 EUR

Lot 9 - English school, XIX century "Portrait of a lady". Oil on canvas. Measurements: 54 x 41 cm; 48 x 62 cm (frame). Nineteenth-century portrait of an empress or court lady. The painter follows French late-baroque or rococo models, which is appreciated in the juicy chromatic ranges that define the silky qualities of the cloths, the sumptuous brocade in silver thread of the red bodice, and the amber smoothness of the pleated skirt. A filtered light filters through the window, which cuts a fragment of sky with cottony clouds.

Estim. 1 000 - 1 200 EUR

Lot 10 - French school; 19th century. "Le Bal Pare a Monsieur de Villemorien Fila" and " Le concert au Madame La Comtesse de Saint Brisson" Engravings illuminated by hand. Engraver: L. Provost. Measurements: 32 x 43 cm (x2); 48 x 60 cm (frames, x2). The gallant parties were a recurring theme in French painting of the eighteenth century, especially in the middle decades of the century, in direct relation to the Rococo lifestyle, but also in the first half. In fact, the genre known as "fêtes galantes" was created as such by the French painter Jean-Antontonine Watteau with his painting "Embarkation for the Island of Cythera", from 1712. In this particular case, the two 19th century illuminated engravings reproduce this eighteenth-century atmosphere.

Estim. 300 - 400 EUR

Lot 11 - Italian school of the XIX century. "View of Cadiz". Oil on canvas. Measurements: 54 x 91 cm; 77 x 108 cm (frame). Nineteenth-century painting, ascribed to the genre of the "veduti". We recognize in it a workmanship of Italian school, probably of the circle of Carlo Bossini (Lugano, 1815-Turin, 1884). This painter immortalized the city of Cadiz with different views of its markets, squares and people. In this scene, around a commemorative column, different human groups are agitated: women with mantillas accompanied by their children, gentlemen wearing tall top hats, soldiers walking in pairs, a Napoleonic general with a tricorn... The architecture that frames the square has stately facades, with windows protected by wrought iron latticework. The sea line can be seen on the right side.

Estim. 1 000 - 12 000 EUR

Lot 12 - Spanish school, late 19th century. "Navy with boats". Oil on canvas. Signed with initials "E.S." Presents a visible restoration on the back. Measurements: 55 x 87 cm; 75 x 105 cm (frame). Painting of naval theme resolved with meticulous brushstroke and tight stroke, as it was usual in the detailed representation of military ships or that played an important role in the maritime history of the country. The flags flying from the masts identify a battleship model of the Spanish naval industry. The sails are lowered in the line of larger ships. Small sailboats skirt the sea, and in the distance numerous ships are silhouetted in the soft mist. The framing is wide and abysses the horizon into a broad panoramic view. The water ripples with a rhythmic cadence.

Estim. 800 - 1 000 EUR

Lot 13 - Dutch school; 19th century. "The painter and the model". Oil on canvas (x2). They have craquelure and one of the pieces has visible restorations on the back. Measurements: 33 x 24 cm (x2); 45 x 37 cm (frames, x2). Pair of canvases in which the artist's studio is represented in both cases, dominated by the presence of a large unfinished painting, a young woman and the artist himself. Although in both cases the protagonists of the scene are the same, the images seem to correspond to a set that conveys the idea of love, reciprocated and rejected. In one of the cases the young lady, dressed in the classical manner, embraces the painter, while in the other scene the girl, anachronistically dressed, rejects the artist. It is the clothes of the protagonists that inscribe both images in the current of historicism. The historical theme of the same, is set in a glorious past related to the history of the painter's country, it can be related, as commented, with the pictorial Historicism of the nineteenth century, the main current at the time, linked to the Academies of Fine Arts. The term "historicism" (Historismus) was coined by the German philosopher Karl Wilhelm Friedrich Schlegel. Over time, what historicism is and how it is practiced has taken on different and divergent meanings. Elements of historicism appear in the writings of French essayist Michel de Montaigne (1533-1592) and Italian philosopher GB Vico (1668-1744), and were more fully developed with the dialectics of Georg Wilhelm Friedrich Hegel (1770-1831), influential in 19th-century Europe. They have craquelure and one of the pieces has visible restorations on the back.

Estim. 2 000 - 2 500 EUR

Lot 14 - FRANCESC GIMENO I ARASA (Tortosa, Tarragona, 1858 - Barcelona, 1927). "Landscape. Oil on canvas. Signed in the lower margin. Measurements: 42 x 63 cm; 59 x 79 cm (frame). Painter and draftsman, Francesc Gimeno began his training in Tortosa at the age of fourteen. In 1880 he settles in Barcelona and alternates his work as a painter and decorator with that of an academy that he created with several friends. In 1884 he traveled to Madrid and entered the Escuela Superior de Bellas Artes de San Fernando, where he was a disciple of Carlos de Haes. In the Prado Museum he admired the great masters of the XVII century, especially Velázquez. On his return to Barcelona in 1889, he suddenly rejected the contracts offered to him, and devoted himself once again to decorative painting. Nevertheless, he took part in some exhibitions, winning prizes such as honorary diplomas at the Barcelona exhibition of 1894 and the National Exhibition of Madrid in 1904. In 1915, at the insistence of Dalmau, Mallol and Jori, he organized his first individual exhibition, in the gallery that the former directed in Barcelona. Francesc Gimeno is represented in the Prado Museum, the Museum of Contemporary Art of Barcelona, the National Museum of Art of Catalonia and the J. Sala collection.

Estim. 1 000 - 1 200 EUR

Lot 15 - FEDERICO ARMANDO BELTRÁN MASSES (Güira de Melena, Cuba, 1885 - Barcelona, 1949). "The meadow". Oil on canvas. Signed in the lower right corner. Measurements: 79 x 97 cm; 101 x 115 cm (frame). The work presents an open field, populated by a large number of people, dressed in the fashion of the popular classes of Madrid in the nineteenth century on holidays. It can therefore be deduced that the work depicts one of the main celebrations of the patron saint of the city, which takes place in the so-called "meadow of San Isidro" and has been immortalized, among others, by Goya. Beltrán Masses, despite his Cuban origin, studied art in Spain. He began his training at La Llotja School in Barcelona, and was a disciple of Joaquín Sorolla. In 1905 he moved to Madrid to study first-hand the works of the masters in the Prado Museum. In 1916 he settled in Paris, where he achieved great commercial success, receiving commissions from illustrious people in the United States, Belgium, Italy and India. He was a member of the Royal Academies of Madrid, Barcelona, Zaragoza, Lisbon, Cordoba and Malaga. He was also a member of the Hispanic Society of New York, the Institute of France, the Academy of Fine Arts in Paris, knight of the Order of Malta and the French Legion of Honor, and general curator of the International Art Exhibition in Bordeaux in 1928. He participated in many exhibitions and shows, such as the one held at the Sala Parés in Barcelona in 1910, the Hispano-French Fine Arts Exhibition in Paris in 1919 and the Venice Biennial in 1921. In 1924 he received the Cordon de Isabel la Católica, and in 1934 he exhibited his works at the Royal Watercolour Society in London. Among his official commissions, the portrait he painted of King Alfonso XIII stands out. In 2007 a retrospective exhibition of Federico Beltrán Masses was held at the Casa Lis Museum of Art Nouveau and Art Deco. Beltrán Masses devoted himself to both landscape and figure painting, although towards the end of his career he focused fully on portraiture. He developed a totally unique style, influenced by the great Spanish masters but decidedly modern. Works by Beltrán Masses are currently preserved in the Prado Museum, the Jeu de Paume Museum in Paris, the Casa Lis in Salamanca and the Reina Sofía in Madrid.

Estim. 7 000 - 8 000 EUR

Lot 16 - CARLES NADAL FARRERAS (Paris, 1917 - Sitges, 1998). "The vinyet". Mixed media on board. Signed in the lower right corner. Measurements: 28 x 35 cm; 40 x 47 cm (frame). Son of Santiago Nadal, painter-decorator settled in Paris, Carles Nadal lives from childhood in Barcelona, where the family moves due to an illness of the father. At the age of thirteen he began to work as an apprentice in a decorative painting workshop, and in 1936 he received a scholarship from the City Council of Barcelona to study at the School of Fine Arts of Sant Jordi. At the outbreak of the Civil War he was enlisted in the Republican army, with which he fought on the fronts of Aragon and Tremp. After being arrested, he returns to Barcelona under freedom, and there he continues with his artistic career, simultaneously working as a decorator and studying Fine Arts. In 1941 he makes his debut in a collective exhibition at the Dalmau Gallery, obtaining good reviews. He finishes his studies and exhibits individually for the first time in 1944, at the Pinacoteca Gallery in Barcelona. Two years later he moves to Paris, again with a scholarship from the Barcelona City Council. There he works and exhibits with the group Présence de l'Homme, as well as participating in the Salons d'Automne. Later, thanks to a scholarship from the French State, he attends the Paris School of Fine Arts. In 1948 he married Flore Joris, establishing his residence in Brussels, where he remained until the mid-seventies. In Belgium he discovered, as he himself repeatedly stated, light and color. During these years he will continue to show his work in Spain and Belgium as well as in France, Germany, Holland, Switzerland, the United Kingdom and the United States. Nadal's painting is post-impressionist, intensely colorful, and is based on the search for chromatic force as the most direct means of communication. His awards include the Grand Prix of Spa, Belgium, and his appointment as a member of the Royal Academy of London. His works are in the Museum of Contemporary Art in Barcelona, the Spa Museum in Belgium and the Royal Museum in Brussels.

Estim. 2 000 - 3 000 EUR

Lot 17 - JAUME MERCADÉ QUERALT (Valls, Tarragona, 1887/89 - Barcelona, 1967). "Landscape. 1954. Oil on canvas. Signed and dated in the lower margin. Measurements: 56 x 70 cm; 81 x 96 cm (frame). Painter, goldsmith and jeweler, Jaume Mercadé was formed in the School of Francesc Galí. He settled permanently in Barcelona in 1916, and that same year he held his first individual exhibition in the Layetanas Galleries. During the following two years he undertook a trip that took him to Paris and various German cities. On his return, in 1919, he was appointed professor of jewelry and goldsmithing at the School of Arts and Crafts in Barcelona. A tireless worker, he participated in numerous competitions and was awarded on multiple occasions, being also awarded as a jeweler. His work as a goldsmith, decisive for the renewal of this art, earned him a diploma of honor and gold medal at the Exhibition of Decorative Arts in Paris in 1924, grand prize and gold medal at the International of Barcelona (1929), gold medal at the VI and IX Triennial of Milan, and grand prize at the III Biennial Hispano-American. His painting places him, to an even greater degree, among the best Catalan artists of the time. One of his most famous paintings, "The Zeppelin", won an important prize in the competition "Barcelona seen by its artists". Among other distinctions, he won the Juan Gris Grand Prize in 1957, the bronze medal for painting at the Biennial of Alexandria in 1959 and second medal at the National Exhibition of Fine Arts in 1960. Initially trained in Fauvism, he was later influenced by Noucentisme, which tempered the sensuality of his palette. Mercadé knew how to evolve until his last years, focusing his painting on what can be called a measured modernity. His own world is that of the harsh lands of the Tarragona region, which he structures in his paintings with serenity and balance. Although this was always his main theme, he also tackled the portrait, the nude and the still life. His painting is very personal both in the plastic and technical aspects, and in fact he used sand and marble dust to achieve the roughness of the earth and the roughness of the trunks of the carob trees, so abundant in the fields of Tarragona. His son, Jordi Mercadé Farrés, was also a painter, initially training with his father. Jaume Mercadé is represented in the MACBA, the Contemporary Art Museum of Madrid, the Art Museum of Vilanova i la Geltrú, the museums of Tossa, Mollet del Vallès and Hospitalet de Llobregat and, especially, in the museum of his hometown, Valls, where a room has been dedicated to him.

Estim. 3 000 - 3 500 EUR

Lot 18 - JOAQUIN MIR TRINXET (Barcelona, 1873 - 1940). "Barques al sol". Oil on canvas. Attached study by Doña Teresa Campas and certificate of authenticity issued by Miralles. Signed and dated in the lower right corner. Measurements: 55.3 x 60.3 cm; 82 x 87 cm (frame). This work is characteristic of Joaquim Mir's hedonistic and audacious language in his interpretation of painting. He reduces it to its basic elements through an excellent handling of light and color, but at the same time he avoids pure abstraction, always suggesting the pulse that beats beneath the forms. Thus, the forms are flaming, pure chromatic agitation and the changing lights of the day are conjugated in symphonic cadences. Joaquim Mir studied at the School of Fine Arts of San Jordi in Barcelona and in the workshop of the painter Luis Graner. He soon felt uncomfortable with the official teaching, anchored in a conception of realist painting, so in 1893 he founded with other colleagues the "Colla del Safrà", to investigate together in the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the III Exhibition of Fine Arts and Artistic Industries, to which Mir presented two works: "La huerta del rector" and "El vendedor de naranjas". Also, since 1897 he frequented the artistic environment of "Els Quatre Gats", which helped him to mature in the compositional study of landscapes with figures in different planes of depth. During these years he took part in the Fine Arts Exhibitions of Barcelona, in their editions of 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital in order to compete for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, on a trip that would be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colors, the result of his personal interpretation of the majestic nature of the island. The brushstrokes became longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan stage individually at the Sala Parés in Barcelona, and again obtained a second medal at the National Exhibition. In 1907 he obtains the first medal at the International Exhibition of Fine Arts in Barcelona. Since then, installed in Camp de Tarragona, he will not move from the landscape genre, but now the surrounding villages will be the protagonists of his painting. In 1917, when he was awarded the National Prize of Fine Arts, he received the definitive national recognition. In 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honor at the National Exhibition in Madrid, an award he had been pursuing since 1922. Although he was mainly a native painter, he had solo and group exhibitions in Washington, Paris, Pittsburg, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the most outstanding representative of Spanish post-impressionist landscape painting. His work is preserved in the National Art Museum of Catalonia, the Prado Museum, the Thyssen-Bornemisza Museum and the Reina Sofia Museum in Madrid, among many others.

Estim. 6 000 - 7 000 EUR

Lot 19 - OLGA SACHAROFF (Tiflis, Georgia, 1889 - Barcelona, 1967). "Vase". Oil on board. Attached certificate issued by Barrachina & Ramoneda. Measurements: 40 x 38 cm; 70 x 60 cm (frame). Olga Sacharoff managed to become an important representative of Catalan Noucentisme despite her Georgian origin. Already in her Parisian stay, prior to her Barcelona period, she adopted her own style in which nature and animals played an important symbolic role. Sacharoff builds in this panel an evocative vase determined by the Cezannian influence that marked the course of his production. The calm combination of bright colors immerses us in a luminous image, based on compositions reduced to the essential. This impression of silence, together with the resoundingly geometric character of the artist's drawing, creates in the work an air of timelessness, of eternal image, immortal thanks to the artist's genial touch. After studying at the School of Fine Arts in Tiflis, Sacharoff moved to Munich in 1910, where she came into contact with German expressionism. The following year he moved to Paris, where his work was initially influenced by Cézanne, and later evolved towards synthetic cubism. At the outbreak of World War I Sacharoff moved to Spain, where he settled in 1915, passing first through Mallorca to finally settle in Barcelona the following year. In fact, some historians point out that she was the introducer of cubism in Barcelona. From there she collaborated in Francis Picabia's magazine "391", considered the mouthpiece of Dadaism and published in Barcelona. He exhibited works in the Salons d'Automne in Paris in 1920, 1921, 1922 and 1928, obtaining important praise from the press and managing to organize, in 1929, a solo exhibition at the Parisian gallery Bernheim Jeune, one of the most important of the time. During these years she held an exhibition at the Layetanas Galleries in Barcelona (1934) and participated in the Montjuic Salon, of which she was appointed a member in 1935. At the outbreak of the Civil War Sacharoff returned to Paris, and in 1939 she exhibited at the Perls Gallery in New York. After the war he returned to Barcelona, and left behind the avant-garde to immerse himself in a naïve taste close to the Catalan noucentisme. His style adopted lyrical and amiable traits, and he put himself at the service of an idealized vision of Catalonia: landscapes, customs, popular types, etc. In general, compositions with multiple characters predominate at this time, depicted with schematic strokes and vivid colors. Chosen by Camón Aznar, he participates in the I Salón de los Once de Eugenio D'Ors (1943), held at the Biosca Gallery in Madrid. Two years later he organized a retrospective of his Parisian work, and in 1960 the General Directorate of Fine Arts dedicated an anthological exhibition to him. In 1964 he was awarded the Medal of the City of Barcelona. Sacharoff also illustrated books, with examples such as "La casa de Claudine" by Colette (1944) and "Netochka Nezvanova" by Dostoevsky (1949). Recently an anthology was dedicated to her in duo with María Blanchard in Bilbao (BBK Exhibition Hall, 2002). Olga Sacharoff is represented in the Mapfre Foundation in Madrid, the Reina Sofia National Center, the Thyssen-Bornemisza Museum, the Museum of Art Nouveau and Art Deco Casa Lis, the Marés Museum, the Pablo Gargallo Museum in Zaragoza and the Monastery of Montserrat, among many others.

Estim. 6 000 - 7 000 EUR

Lot 20 - ALLEN CULPEPPER SEALY (England, 1850 -1927). "Common, winner of the triple crown in 1891 ridden by G.Barrat", 1891. Oil on canvas. Signed and dated in the lower right corner. Provenance: Bernat Gallery. Measurements: 71 x 92 cm: 86.5 x 107 cm (frame). The painting of hunting theme combines the contemplation of the landscape with the narrative, the portrait and the animalistic painting, reflecting in a very precise way the aesthetic taste and the thought of the bourgeoisie of the XIX century. The patron sees his own reality represented in the painting, his way of life, his values vindicated through art. What is certain, however, is that it was a particularly important genre in England, due to the great tradition of its competitions. The English greatly appreciated the naturalistic representation of animals and the works thus became true portraits of these racing heroes that congregated (and congregate) the British monarchy and aristocracy. Allen Culpepper Sealy was born at Field Grove House, Bitton, Keynsham, Somerset, educated at Elm Grove House, Manchester Street, Littleham St Thomas, Devon, a boarding school, but returned home to Bitton in 1871, from where he studied at Bristol School of Art. A landscape but equestrian painter, he traveled widely on commissions; in 1891 he was in Doncaster, South Yorkshire, in 1901 in Rochester, Kent, and in 1911 in Exmouth, Devon. He must also have been in Newmarket, Suffolk, where he received several commissions, and his "Kingwood" is in the National Horseracing Museum in Newmarket. He exhibited at the Royal Academy between 1875 and 1886, as well as at the Royal Society of Artists in Birmingham, the Fine Art Society, the Walker Art Gallery, the Manchester City Art Gallery, the Royal Society of British Artists, the Royal Hibernian Academy and the Royal Institute of Oil Painters. Allen Culpepper Sealy died at Park Cottage, Parkstone, Poole, Dorset, on November 11, 1927.

Estim. 6 000 - 8 000 EUR

Lot 21 - MARIANO ANDREU ESTANY (Mataró, Barcelona, 1888 - Biarritz, France, 1976). "Still life and figure", 1932. Oil on táblex. Signed and dated in the lower margin. Measurements: 23 x 26 cm; 54 x 62 cm (frame). Mariano Andreu explored the plastic and conceptual possibilities of a modern classicism of Mediterranean nature. Here, in the foreground, he has developed a still life of summer fruits and fresh wines in which each element is outlined with shapes and colors enclosed within themselves, so that the whole seems to derive in a visual collage. In the background, a young ephebe adopts a graceful posture that emphasizes the gracefulness of his anatomy, resolved with curved strokes and synthetic will. A certain timeless and mythical cadence envelops the scene, as is usual in the compositions of the artist, who draws from multiple sources and periods, from the Renaissance to Fauvism. Painter, draftsman, engraver, sculptor, decorator and set designer, Mariano Andreu began his career in the art world attracted by the plastic arts of the spectacle. Mainly self-taught, he sporadically attended Francesc A. Galí's academy. He studied in London at the Municipal School of Arts & Crafts, where he was fascinated by the style of Aubrey Beardsley and by Pre-Raphaelite painting. On his return to Barcelona he joined the Decadentist group, the first manifestation of Noucentisme. In 1911 Andreu exhibited his work for the first time in a group exhibition organized at the Faianç Català. The following year he settled in Paris, a city where he was always a great success with critics and the public, although he returned intermittently to Barcelona. Later he travels to Italy to study the works of the Renaissance, a fact that will definitively mark his work. He held several exhibitions in Barcelona, Paris, Munich, Tokyo, Osaka, London, Brussels, New York, Los Angeles and Buenos Aires. He is represented in the Museums of Theater and Contemporary Art of Barcelona, as well as in various public and private international entities.

Estim. 12 000 - 14 000 EUR

Lot 22 - CELSO LAGAR ARROYO (Ciudad Rodrigo, Salamanca, 1891 - Seville, 1966). "Procession". Oil on panel. Signed in the lower margin. Work certified by Narciso Alba. Measurements: 18,5 x 16 cm; 41 x 38 cm (frame). Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric hospital. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).

Estim. 3 500 - 4 000 EUR

Lot 23 - CELSO LAGAR ARROYO (Ciudad Rodrigo, Salamanca, 1891 - Seville, 1966). "Harlequin". Oil on board. Signed in the lower margin. Work certified by Narciso Alba. Measurements: 18,5 x 16 cm; 41 x 38 cm (frame). Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric hospital. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).

Estim. 4 000 - 5 000 EUR

Lot 24 - JOSEP DE TOGORES LLACH (Cerdanyola del Vallès, 1893 - Barcelona, 1970). "Vase". Oil on canvas. Signed in the lower corner. Measurements: 65 x 54 cm; 101 x 89 cm (frame). Born in the bosom of a well-to-do and cultured family, that frequents the intellectual circles, his interest for the painting is born at the age of thirteen, when he loses his hearing by a meningitis. He traveled to France and Belgium, where he discovered the paintings of Rembrandt, and at the 1907 International Art Exhibition in Barcelona, he was fascinated by the work of Monet. At the age of eighteen he was already an important artist in Barcelona, and in 1913 he was commissioned to decorate the chapel of Anna Girona in Poblet. With a scholarship from the city council of Barcelona, he moved to Paris to study, where he became acquainted with the painting of Cézanne, who would be a decisive influence on his work from then on. In 1917 he meets Picasso, and comes into contact with cubist theories and circles. In the 1920s he began his relationship with the gallery owner Kahnweiler, who would later become Picasso's dealer. He worked exclusively with him between 1921 and 1931, when his painting went through its most experimental period, approaching automatism and surrealism. Under Kahnweiler's guidance he became an enormously successful artist. In 1932 his painting takes a new turn, a return to figuration. He moves to Barcelona and works with a new dealer, Francesc Cambó. During this period he painted many portraits of the most important people in Catalan society, and became one of the most sought-after painters of the time. During the Civil War he moved to France, but returned in 1939, where he continued to work, without having lost any of his prestige. His work is present in the Museo Patio Herreriano in Valladolid, the Museo Nacional Reina Sofía, the Museo Nacional del Arte de Cataluña, the Getty Museum (Los Angeles), the Museo de Arte de Sabadell, the Städtisches Gelsenkirchen Museum (Germany), the Thyssen-Bornemisza Museum (Madrid), the Palacio Nacional de Montjuic and the Centre Georges Pompidou (Paris), among others.

Estim. 10 000 - 15 000 EUR

Lot 25 - FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area. Measurements: 27 x 35 cm; 49 x 57 cm (frame). With great versatility, Francisco Borés moved freely through expressionism and cubism. We are here before the representation of a feminine body resolved with an impetuous pulse, of thick stroke, with primitivist and Picasso's echoes and that, at the same time, establishes winks with the German Die Brücke movement. The color tile, along with a contrasting range of orange and sienna tones, dominate the palette. Borés also dialogues with a whole genealogy of odalisques, from Goya to Manet. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he had his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group exhibition at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions in prominent galleries in Paris and London, among them Georges Petit and Zwemmer. After the Second World War he resumes his exhibition activity, and in 1947 the French State acquires, for the first time, a work by Borés. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Theo Gallery in Madrid, which meant his approach to the Spanish public, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Theo Gallery, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés' production: renewed classicism (1923-25), neo cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.

Estim. 7 000 - 8 000 EUR

Lot 26 - HERNANDO VIÑES SOTO (Paris, 1904 - 1993). Untitled, 1932. Oil on canvas. Signed and dated in the lower left corner. Measurements: 130 x 86 cm; 147 x 107 cm (frame). During the year 1932, Viñes spent a season in Palma de Mallorca, a stay that influenced the choice of themes, being a theme of inspiration. In this work the artist presents an image of clear Mediterranean inspiration, both in the forms and in the tonalities he uses. The artist shows us a protagonist couple, located in the center of the composition. One of them, facing the viewer, and the other in profile. Behind them, the wide space gives way to the sea that merges with the sky creating a dreamy atmosphere. Born into an upper-class bourgeois family, Hernando Viñes Soto was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a disciple of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in "El retablo de Maese Pedro", by Manuel de Falla, and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War, a very hard period began for the painter, in which, in spite of numerous collective and individual exhibitions, he did not achieve the notoriety that his brilliant beginnings promised. He had to wait until 1965 and the great retrospective that the Museum of Modern Art of Madrid dedicated to him to finally be recognized as one of the most brilliant painters of his generation. From that moment on, the exhibitions followed one after the other, in outstanding galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) or Ruiz (Santander). At the beginning of the eighties important retrospective exhibitions were dedicated to him at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he received the Gold Medal of Arts and Letters from the hand of King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes' work continued its path in France, and museums around the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Center in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.

Estim. 15 000 - 18 000 EUR

Lot 27 - MANUEL ANGELES ORTIZ (Jaén, 1895 - Paris, 1984). Untitled, 1958. Oil on canvas. Signed and dated in the lower right corner. Measurements: 132 x 98 cm; 156 x 121 cm (frame). In 1957, a year before creating this work, Manuel Ángeles Ortiz returned to Granada after 32 years and in a new contact with the landscape and the culture of the city his painting was highly influenced by this change. In this particular case this piece is at a fundamental moment in his career, created just before his mythical series dedicated to the Albaicín. In the exhibition dedicated by the Reina Sofía Museum and Art Center in Madrid, it was pointed out that the work of Manuel Ángeles Ortiz is difficult to classify. This difficulty can be appreciated even in this work where an alternation of languages is evident (late Cubism, line drawing and round and monumental volumes of classical inspiration, etc.), a symptom of the different approaches to a return to order, promulgated by different voices, from Cahiers d'Art to Jean Cocteau or Amédée Ozenfant. Ángeles Ortiz was an independent artist, difficult to classify stylistically, as he did not stop experimenting throughout his career. Representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city, and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a collective exhibition, receiving very good reviews in the local press. At the same time, he began to make drawings for different publications. In the early twenties, following the death of his wife, the painter moved to Paris. There he paints frenetically, and has in Picasso his main support and first enthusiast. His painting abandons cubic forms to focus on fully dreamlike images, which he will present in Paris in his first solo exhibition, held at the Quatre Chemins gallery in 1926. In 1932 he returns to Spain, but his anti-fascist stance leads him to take refuge, once again in France, at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated in the artistic environment and lived there until 1948, when he returned to Paris for good. He is currently represented in the Reina Sofía National Museum in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Contemporary Art Museum in Seville, the Fine Arts Museum in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera Gallery in Cologne, among other public and private collections.

Estim. 40 000 - 45 000 EUR

Lot 28 - ALBERT GLEIZES (Paris, December 8, 1881 - Avignon, June 23, 1953). "Lumiere Jeune", 1933. Oil on canvas. Signed and dated on the back. With label of the Museum Ostwall, Dortmund, on the reverse. Hist.: Collection Juliette Roche-Gleizes; Passedoit Gallery, New York (?); Marlborough Fine Art Ltd, London; galerie Suzanne Feigel, Båle; galerie Françoise Tournié, Paris; galerie Félix Vercel, Paris; vente Paris, Drouot- Montaigne, 11 octobre 1989, no. 131 (repr.). Exp.: 1936-1937 New York, no. 51; 1943 Paris, no. 26 (?): 1947 Lyon, no. 27 (?); 1949 New York, no. 19; 1956 London, no. 31; 1964 New York, no. 153 (repr.): 1964-1965 Paris, no. 70 (repr.); 1965 Dortmund, no. 70 (repr.): 1969 Bâle, no. 40 (repr.); 1971 Courbevoie, no. 86; 1972 Paris, no. 14 (repr.). Exhibitions and publications: Rene Gimpel Galerie, New York, 1937, no. 51. Passedoit Gallery, New York, 1949, no. 19. Ostwell Museum, 1965. Mentioned in 1933 in issue 18 of Porza Nouvelles Briefes, p. 5, entitled Rhythmic Composition, the Yellows. As the oil painting is not reproduced in the 1943 Paris and 1947 Lyon catalogs, these references remain hypothetical. Work catalogued in the monograph "Albert Gleizes", Guggenheim Museum, New York, p. 95. Certificate of authenticity attached. Measurements: 89.5 x 114 cm; 114 x 138 cm (frame). "Young Light" is the title of this important work by Albert Gleizes, belonging to his mature period. Light is the great theme of this artist, who once wrote: "the problem of light is a problem of faith. Because light is not concrete but perfectly metaphysical, ineffable". The artist took the cubist experiments beyond the decomposition of forms and objects into geometric planes, considering space, time and light to be one and the same. This integration between material and immaterial reality is captured in "Young Light" (Lumiere jeune), a title that alludes to the rising sun and also to the opening of the chromatic spectrum of a rainbow. The circles evoke the idea of the absolute, emitting concentric waves on a still life that receives the first rays of dawn. During his early years, Gleizes worked in his father's industrial design studio in Paris. Finally, after completing high school, he spent four years in the army and then began his career as a painter, initially doing landscapes. His first works are framed in impressionism, with works such as "La Seine à Asnières", exhibited at the Société Nationale des Beaux-Arts in 1902. The following year he participated in the first Salon d'Automne in Paris, and soon came into contact with Fernand Léger, Robert Delaunay, Jean Metzinger and Heri Le Fauconnier. In 1910 he joined Cubism, of which he was one of the first and most important theoreticians, together with Metzinger. That same year he exhibited at the Salon des Indépendants. Three years later he participated in the collective of the Armory Show, in New York. During the war he enlisted again in the army, and after the war he moved to New York. He also traveled to Barcelona and Bermuda, and in 1916 he held his first individual exhibition at the Dalmau Galleries in Barcelona. Two years later we find him fully committed to the search for spiritual values, which will be reflected both in his painting and in his texts. In 1927 he founded in Sablons Moly-Sabata, a utopian community of artists and craftsmen, in a way a continuation of the Abbaye de Créteil that he had formed, together with other artists and writers, on the outskirts of Paris in 1906. In 1931, Gleizes participated in the Abstraction-Création committee that acted as a forum for international non-figurative art. By then, his work reflects the strengthening of his religious convictions and in 1932, in his book "La Forme et l'histoire" he examines Celtic, Romanesque and Oriental art. During these years he will give lectures in Poland and Germany, and will be hired to paint murals for the Paris Universal Exposition of 1937. Almost a decade later, between 1949 and 1950, he worked on illustrations for Blaise Pascal's book "Pensées sur l'homme et Dieu". In 1951 Gleizes was appointed jury of the Prix de Rome, and the French government awarded him the Legion of Honor. Considered a great renovator of religious art, in 1951 he produced his last great work, a fresco entitled "Eucharist" which he painted for the Jesuit chapel in Chantilly. Albert Gleizes is currently represented in the Guggenheim Museums in Venice and New York, the Georges Pompidou Center in Paris, the Albright-Knox Gallery in Buffalo, the MoMA and the Metropolitan in New York, the National Museum of Western Art in Tokyo, the Reina Sofia in Madrid, the Tate Gallery and the Thyssen-Bornemisza, among other collections around the world.

Estim. 140 000 - 160 000 EUR

Lot 29 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Suite Catalana". 1972. Aquatint, painting and collage on cardboard. Signed and dedicated by hand. It appears in the archive of the Complete Works of Tàpies, photo number T-9685. Attached certificate issued by the Comissió Tàpies (Antoni Tàpies Barba, 2015). Measurements: 80 x 105 cm; 100 x 124 cm (frame). This engraving intervened with painting and collage is part of the folder "Suite Catalana", which Tàpies made in 1972, a year before Franco's death. It belongs, therefore, to the context of the vindication of the Catalan culture and identity when it was strongly repressed. In this aquatint with paint, the four bars are expressed through symbolically "bloody" fingerprints; the Greek cross (another ubiquitous element in Tàpies' work) symbolizes the triumph of spirituality and resistance in the face of institutionalized violence. Thick black strokes converge towards calligraphy. The letters, for Tàpies, went beyond their function of composing meaningful words, since for him, graphics were imbued with cryptic messages. The "Suite Catalana" is a series of 34 engravings made by Antoni Tàpies in 1972 and published by Editorial Gustavo Gili in Barcelona. It is considered one of Tàpies' most important and representative works. They form a courageous commentary on the harsh realities of life in Catalonia under the Franco regime. Co-founder of "Dau al Set" in 1948, Tàpies began exhibiting at the Salones de Octubre in Barcelona, as well as at 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 noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 22 000 - 24 000 EUR

Lot 30 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Roig y Negre V", 1985. Etching aquatint and carborundum, copy H.C.. Signed and justified by hand. Measurements: 96 x 123 cm; 117 x 147 cm (frame). Life and death (red and black) are a common thread in the series titled with these two colors. Graphic symbolism, staining and texture are allied in this stage of extreme introspection (the eighties), which plastically translated into the conception of the pictorial surface as a whole, as an open field, without limits or hierarchy. Co-founder of "Dau al Set" in 1948, Tàpies 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 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 Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. 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 importance to the material substratum 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 Prix de 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 Prize for the Plastic Arts (2003). 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. 7 000 - 9 000 EUR

Lot 31 - JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984). "Composition", 1956. Oil on canvas. Presents label on the back of the Dau al Set Gallery (Barcelona). Signed, dated and located (Brazil) in the lower right corner. Measurements: 61,5 x 39,5 cm; 87 x 65 cm (frame). In 1953, Joan Ponç had arrived in Brazil, establishing himself completely in the cultural scene of Sao Paulo, in fact, in the year in which this work was made, he participated in the exhibition "50 anos de Paisagem Brasileira". This abstract painting surprises the viewer thanks to the contrast of colors and the meticulous study of the stroke. The expression of the work is aided by the chromatic palette, since in the author always predominate the colors of cold tones, which usually contrast with some other color, as in this case red and white. In this way, he brings depth and more dynamism to the result. Painter and draftsman, he was trained in Barcelona, in the workshop of Ramón Rogent and in the Academy of Plastic Arts with Ángel López-Obrero. After dedicating himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Art Gallery of Bilbao, which would mean his definitive consolidation within the national artistic panorama. In 1948 he founded, together with Tharrats, Puig, Cuixart, Tàpies and Brossa among others, the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he participated in the Salón de los Once de Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and was able to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, with such success that the organization acquired all of the works. In Brazil he visited the equatorial jungles, where he was impressed by the fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to an illness, as a fully consecrated artist, he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and several Spanish cities. In 1965 he won the International Drawing Grand Prize at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are at the same time painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, a spell, something supernatural.

Estim. 5 000 - 6 000 EUR

Lot 32 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Poster for the exhibition Sculptures, Maeght Gallery, Paris, 1970". Lithograph on paper. Copy 93/150. Signed and justified by hand. Measurements: 79 x 59,5 cm; 95 x 75 cm (frame). Lithograph realized for the poster of the exhibition "Sculptures" of Joan Miró celebrated in 1970, in the Gallery Maeght of Paris. Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. This lithograph shows us the most essentialist Miró in his search for minimal and suggestive forms. The ranges limited to a few colors applied on flat and shiny surfaces, combine to evoke the lyrical communion of man and the environment.

Estim. 3 500 - 4 000 EUR

Lot 33 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Monumental aspect". Ballpoint pen on paper. Attached certificate issued by ADOM. Measurements: 37,5 x 24 cm; 55 x 47 cm (frame). Original drawing by Joan Miró, made with blue ballpoint pen, representing with some annotations some of his endearing characters with big eyes. Joan Miró is formed in Barcelona, between the Escuela de la Lonja and the Academia Galí. Already in the early date of 1918 he made his first exhibition, in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would mean his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Estim. 9 000 - 10 000 EUR

Lot 34 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Nu féminin", 1976. Charcoal and lead on paper. Signed in the lower right corner. With stamp of the Perrot-Moure Collection. Enclosed certificate issued by Nicolas R. and Olivier M. Descharnes. Measurements: 59.3 x 87.8 cm. Every Tuesday of the summer months of 1976, Dalí gave a drawing course in Figueras. In the female nude that we show, the experts recognize corrections and finishes of his authorship on a previous drawing of one of his students. A young woman lying down covers her pubis with her left hand, partially mimicking the archetypal gesture of the Vanus pudica. However, she does not hide her naked torso, and her long legs do not seek to be proportional to the rest of the body. On the contrary, they present an unreal and deliberate length, of a mannerist nature. Under Dalí's hand, bodies become elastic and metamorphic, for even in apparently academic studies they acquire a subtly dreamlike delicacy. 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 traveled regularly 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. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache imitating Velázquez's, which would become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", in which scenes from the surrealist imaginary were shown. In August of that same year he met his muse and future wife Gala. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. His work greatly influenced the direction of surrealism for the next two years, and he was hailed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. 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. 24 000 - 26 000 EUR

Lot 35 - MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007). Untitled, 1963. Oil on canvas. Signed and dated on the back. Measurements: 130 x 97 cm; 135 x 101 cm (frame). As the Juan March Foundation points out; "From 1958, (Cuixart) resorts to his characteristic dripping of metallic iridescence on dark backgrounds that will evolve into a kind of spatialism. At the beginning of the 60's, the material and textural of Lyon's informalism hybridized with the magicist and symbolic graphics of Dau al Set. His plastic concern for the human condition causes his interest in matter to be progressively replaced by an intense irruption of the existential". Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he participated in the foundation of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the beginning a strong kinship with surrealism, as well as a great sensitivity to the expressive power of color. Towards 1955 he immersed himself in material informalism, which led him to use the "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde art held at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduces collage in his work in 1962, which will gradually lead him towards pop-art. Enriched by all these experiences, he returns again to flat painting, reaching a very personal critical realism, which synthesizes expressionism with dramatically transformed figuration, always valuing the chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. In addition, he participates in a group exhibition at the UNESCO Palace in Paris, receives the Cross of St. George of the Generalitat of Catalonia, and the Cross of Isabella the Catholic. In 1988, he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colors and shapes, and reincorporates a more material figuration to his work. In 1998 the foundation that bears his name was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo in Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

Estim. 5 000 - 6 000 EUR

Lot 36 - JORGE CASTILLO CASALDERREY (Pontevedra, 1933). Untitled, 1983. Oil on canvas. Signed and dated in the upper left corner. Measurements: 134 x 108 cm. Castillo's works are images impregnated with fantasy and a sense of decoration that stems from Matisse. His painting is constructed with forms that unfold in space with effects of great plastic originality. The scene is integrated into an enigmatic composition in which different levels of reality coexist. Since he was a child, Jorge Castillo has been passionate about drawing, and when he was only ten years old, he made his first copy of Rubens with colored pencils. According to Castillo, Rubens' painting taught him to understand the cubism of Braque and Picasso. He has lived in Argentina, Spain, France, Italy, Germany and the United States, and since 2008 he has lived in Ibiza. He grew up in Buenos Aires, where he spent long hours at the port, besides dedicating his time to painting and writing. During these years he began to show his paintings, even exhibiting at the Salón de Mayo. He also published poems and short stories in magazines. However, at the age of twenty-two he decided to leave his city and go to Paris. However, for economic reasons he settled in Spain, specifically in Madrid, where he spent six years, between 1957 and 1963, the first three of them living as a vagabond. However, his contact with Viola and Jorge Cela, who were impressed by his drawings, would change the course of his life. During these years he would gradually opt for the technique of engraving, which from then on would be one of his main means of expression. He then began to emerge as an artist, to sell his first works and to establish some important contacts, protected by Luis González Robles, who in 1960 took him to the São Paulo Biennial. There, his works surprised and received praiseworthy reviews, and during these years he also exhibited in Madrid and Barcelona, as well as in San Francisco, Lisbon, Pittsburgh and Tokyo. And it was in 1964, the year of his participation in the Venice Biennial, when the doors of Paris finally opened for him, thanks to the contract he signed with the art dealer André Schoeller. He settled in the French capital for almost four years, until 1967, and there he regularly visited the Louvre Museum and continued to hold increasingly successful exhibitions. In 1967 Castillo left Paris and moved to Geneva, since Schoeller had sold his contract to the Swiss Jan Krugier, then one of the most important gallery owners in Europe. However, he did not like the city, so he went to Boissano, in Italy. In this country he became immersed in classical Italian art, especially from the Trecento and Quattrocento, and in 1969 he was invited by the German government to work in Berlin, where he lived until 1975. In 1970 he exhibited at the Nationalgalerie in the German capital, the first major museum exhibition dedicated to a specific period of his career, and later in numerous Berlin galleries. When he left Berlin Castillo moved to Barcelona, by then a recognized painter in Europe and America. There he exhibited regularly at the Joan Prats gallery, and met Salvador Dalí. During these years he began to visit New York and finally settled there in 1981, remaining in the city until 1992. There he was hired by the prestigious Marlborough Gallery, and his successes continued. Throughout his career, Castillo was awarded prizes such as the International Drawing (1964) and Painting (1975) in Darmstadt, the City of Pontevedra (1994), etc.

Estim. 4 500 - 5 000 EUR

Lot 37 - JORGE CASTILLO (Pontevedra, 1933). Untitled. Etching. Copy 65/75. Signed and justified in pencil. Measurements: 56 x 76 cm (print); 70 x 100 cm (paper); 83 x 114 cm (frame). Son of Spanish emigrants in Argentina, Jorge Castillo returns to Spain in 1957. He was introduced in the artistic circles of Madrid, and in 1958 he began to sell his drawings in the Biosca gallery. Little by little, he began to opt for the technique of engraving, which would finally become his main means of expression, although he would alternate 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, Dusseldorf 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 exhibition dedicated to a specific period of his career. He won awards such as the International Drawing and Painting of Darmstadt, 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. 200 - 250 EUR

Lot 38 - JOAN ABELLÓ PRAT (Mollet del Vallés, Barcelona, 1922 - Barcelona, 2008). "Sports Bar". Mixed media on canvas. Signed in the lower right corner. Titled in the lower left corner. Measurements: 82 x 100 cm; 95 x 115 cm (frame). Painter and engraver, Joan Abelló begins his formation in a self-taught way, having in his first paintings a great influence the works that Joaquín Mir realized in Mollet. He then studied at the Baixas Academy and at the Royal Artistic Circle of Barcelona (1941), and later became a disciple of Pere Pruna, working for two years in his studio (1944-46). Pruna taught him mural and engraving techniques, and he also learned restoration in Miracle's studio. In 1945 he exhibited his work in Barcelona for the first time, and the following year he began working in the studio of Carlos Pellicer, with whom he worked for fourteen years. He completed his studies with trips to London, Belgium, Paris and the Isle of Man, among other places. In the sixties he returned to his native town, where he again became interested in the landscapes of the Vallés and the Mediterranean, although he did not abandon his extensive travels through Europe, Africa, the Ivory Coast, Morocco and Brazil. An outstanding collector, in 1996 he donated his art collection to the City Council of Mollet, which created the Joan Abelló Municipal Museum three years later. Attached to the museum is the artist's birthplace, which since 2002 has housed a restoration workshop and center for artistic studies. From 1940, the year in which he held his first exhibition in his native town, even before moving to Barcelona to study, Abelló held exhibitions in Spain as well as in London, Paris, New York and Moscow. In 2002 he was appointed member of the Royal Academy of Fine Arts of Sant Jordi. He is represented in the Museum that bears his name, as well as in the MACBA in Barcelona, the Courtauld Collection in London, the Ashmolean Museum in Oxford, the Vatican Museum, the Poldersmuseum in Belgium and the Francesc Galí Legacy.

Estim. 1 200 - 1 400 EUR

Lot 39 - RAMÓN AGUILAR MORÉ (Barcelona, 1924 - 2015). "Circus scene". Mixed media on panel. Signed in the lower left corner. Measurements: 34 x 51 cm; 58 x 75 cm (frame). Circus scenes, so in vogue at the beginning of the 20th century, became a key motif in the vast imaginary of the time. Previously, great masters such as Edgar Degás, George Seurat or Henri de Toulouse-Lautrec, turned their attention to this eccentric spectacle, immortalizing on their canvases the bohemian and free life, far from social conventions, that surrounded the world of the circus. Born in Barcelona, he began his training as a disciple of Oleguer Junyent, with whom he learned drawing, although he considers himself a self-taught painter. He worked in his studio between 1945 and 1948, and also during these years he made numerous sketches of "music hall" and ballet themes in the Rigalt and Liceo theaters. He held his first exhibition at the Rovira Gallery in Barcelona in 1949, and since then, he has continuously exhibited his works in various galleries in Barcelona and in the main Spanish cities. He has also exhibited abroad, at the Omell Gallery in London, Barbizon in Paris, Palmer House in Chicago, Forum and Hotel Paris in Monte Carlo, and also at Arts and Culture in Geneva, Artexpo in New York, Art Expo West in Los Angeles and the Munster Circle in Luxembourg. In Barcelona it has reiterated its presence in the Gaspar, Grifé & Escoda, Novell and Rusiñol galleries. The latter celebrated its XXI anniversary in 2007 with a retrospective exhibition of this painter. Outside Barcelona he has also shown his work in prestigious art galleries, including Àgora 3 in Sitges, Alcolea in Madrid and Garbí in Valencia. He has won numerous awards and distinctions, such as the Gold Medal of the City Council of Palma de Mallorca, the Sant Jordi Award from the Diputació de Barcelona, and the Miquel Carbonell and II Mediterranean Games Painting Awards. Aguilar Moré cultivates a decorative expressionism, strong arabesque and bright colors. His work can be found in the Museum of Contemporary Art of Madrid, the Fine Arts and Perrot-Moore museums of Cadaqués, the Provincial Council of Barcelona, the Reina Sofía Museum of Athens, the Fons d'Art of Olot and the Municipal Art Gallery of Palamós.

Estim. 450 - 500 EUR

Lot 40 - JOSE LUIS FLORIT RODERO (Madrid, 1909 - Paris, 2000). "Equestrian walk". Oil on canvas. Signed in the lower left corner. Measurements: 44 x 45 cm; 70 x 78 cm (frame). Painter, draftsman and illustrator, José Luis Florit begins his studies between Olot and Figueras, under the direction of the painter Juan Núñez. After this initial period he settled in Madrid, where he studied Fine Arts at the San Fernando School. In order to complete his training, he moved to Paris in 1935, where he came into contact with the different avant-gardes in force, but always maintaining a very personal style. Upon his return he settled in Barcelona. He was a founding member of the group Artists in Action, and held several exhibitions, both individual and collective. Among them were those held at the Museum of Modern Art in Madrid (1935) and at the Venice Biennial. He also participated in the National Exhibitions of Fine Arts, obtaining a medal in 1934. He is represented in the Museum of Modern Art of Madrid.

Estim. 500 - 600 EUR

Lot 41 - MIQUEL VILÀ (Barcelona, 1940). "Ibiza", 1942. Oil on cardboard. Signed and dated on the back. Measurements: 22 x 30 cm; 43 x 52 cm (frame). A painter with a passion for the Barcelona neighborhood of Poblenou, Miquel Vilá was trained at the School of Fine Arts of Sant Jordi and continued his studies at the Conservatory of the Arts of the Book in Barcelona. Currently, his work is preserved in the Museum of Modern Art in New York, as well as in the Museum of Contemporary Art in Madrid. Stylistically, Vilá's tremendously expressive brushwork stands out, through which he captured the workshops and the industrial and borderless geography of the Poblenou neighborhood. He currently lives and works in Barcelona and Menorca.

Estim. 1 000 - 1 200 EUR

Lot 42 - PASCUAL BUENO FERRER (Barcelona, 1930) "The mush". Oil on canvas. Signed in the lower right corner. Measurements: 55 x 46 cm; 83 x 73 cm (frame). Pascual Bueno wins his first painting prize in 1948, a fact that will stimulate him to dedicate himself fully to his vocation. In 1956 he won first prize in a competition organized by the Barcelona Museum of Art, and that same year he was awarded the Masriera silver medal for Landscape by the Royal Academy of Fine Arts of St. George in Barcelona, and a prize from the Diputació de Barcelona consisting of a scholarship to further his training in Paris. On his return to Barcelona, he makes his individual debut and begins an intense exhibition activity that will take him to show his work in Madrid, Bilbao and Valencia, as well as in Barcelona. In 1957 he enters the Escuela Superior de Bellas Artes de Sant Jordi in Barcelona, obtaining the title of Professor of Drawing and Painting, and years later the title of Bachelor of Arts. He continues to participate in competitions and obtains awards: second prize for painting Arenys de Mar (1958), first mention of honor in the Biennial of Montblanc (1959), first national prize in the contest of Artistic Orientation and Painting of Madrid (1959) and gold medal for landscape of the Royal Academy of Fine Arts of Barcelona (1960). In 1968 he had his first personal exhibition in the United States, specifically in the Lido (California) and Park Bennet (New York) galleries, where he would continue to exhibit in the future. However, for several years his paintings had been sold by the most prestigious artists and were included in the best collections in Europe and America, having participated in group exhibitions in Switzerland (1956), Madrid (1964) and the Museum of Modern Art in New York, as well as in the Salzburg Biennial. His work is in the Museum of Montecantini (Florence), the Grand Central Moderns (New York), the College Oakland (California), the Diputación de Barcelona, the Estrada Saladich Foundation and the Museum of Contemporary Art of Montevideo (Uruguay), as well as in various Spanish collections.

Estim. 400 - 500 EUR

Lot 43 - JORDI CURÓS I VENTURA (Olot, Girona, 1930-Barcelona, 2017). "Vase of flowers". 1952. Oil on canvas. Signed and dated in the lower right corner. Measurements: 72 x 60 cm. Trained at the School of Arts and Crafts of Olot, Jordi Curós traveled to Paris with a scholarship from the Institut Français of Barcelona. He belonged to the group of the Sala Parés, where he exhibited successive times between 1965 and 1989, and received in 1967 the Ynglada-Guillot drawing prize. He is represented in the MACBA, the Historical Archive of the City of Barcelona, the Zabaleta Museum in Jaén, the Museum of Modern Art of Olot, the Balaguer Museum of Vilanova i la Geltrú, the Museum of Painting of Sant Pol, the Provincial Council of Girona, the Provincial Museums of Pontevedra and Lugo, the Municipal Museum of Badalona, the Camón Aznar Museum of Zaragoza and the Museum of Empordà.

Estim. 400 - 500 EUR

Lot 44 - EUGÈNE BAUDIN (France, 1853 - 1918). "Landscape with figure". Oil on panel. Signed. It presents the cracked surface. Measurements: 20 x 34 cm; 44 x 58 cm (frame). A solitary peasant woman advances towards us along a path that crosses the painting diagonally. To her left, a group of old boats placed on the dry land offers us a melancholic image. In the background, the first houses of the village are drawn and, on the other side, large leafy trees. Eugène Baudin was a politician and Art Nouveau ceramist, although he also painted landscapes, flowers and figure subjects. Eugène Baudin devoted himself entirely to art from 1898, the year of his retirement from political life. He began to work in Paris, at first, but later moved to the Breton coast and finally to Monaco (1906). He participated in the Universal Exposition of Paris in 1900, and in the Universal Exposition of St. Louis (USA) in 1904.

Estim. 800 - 1 000 EUR

Lot 45 - JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986). "Amsterdam". Oil on canvas. Signed in the lower corner. Presents on the back label of the room Parés (Barcelona). Measurements: 23 x 27 cm; 27 x 51 cm (frame). Born in the bosom of a very religious family, Mallol Suazo was formed in the School of La Lonja, in Barcelona, where he was a disciple of Félix Mestres and Ramón Calsina between 1929 and 1935. He was a cartoonist as well as a painter, and published humorous illustrations in "En Patufet", "Virolet" and "L'Esquitx", magazines with which he collaborated since his student years. A congenital deformity in his feet, which made him walk with difficulty, prevented him from developing the landscape theme, as he could not move to make the copy from life. That is why he opted for other themes, such as still life or portraits. The first exhibition of his work took place at the Salon of Contemporary Art in Barcelona in 1936, months before the outbreak of the Civil War. That same year he was awarded a prize at the Spring Exhibition in Barcelona. The war forced the dispersion of his family, but Mallol remained in Barcelona, where he devoted himself entirely to painting and obtained, in 1938, the Nonell Painting Prize, awarded by the Sala Tardor. In 1945 he became a member of the group of artists of the Sala Parés, a gallery where he met the collector Josep Omar Gelpi, who became his art dealer from then on. Considered one of the most promising young Catalan painters, in 1953 he participated in the National Exhibition of Fine Arts in Barcelona with a nude, and in 1959 he visited Brazil for the first time, the country where his wife came from and to which he would travel several times throughout his life. Far from the feeling of "risk and adventure" in a plastic sense, Mallol did not allow himself to be dragged along by the prevailing artistic currents, always remaining faithful to his own realistic-poetic language. In 1987, a year after his death, the Sala Parés dedicated a large tribute exhibition to him, an anthology of his work. Mallol is represented in the National Art Museum of Catalonia, the Museum of Valls, the Deu Font Museum in El Vendrell, the Historical Archive of the City of Barcelona and the Abbey of Montserrat, as well as in important collections such as Caixa Terrassa, Caixa de Catalunya, Marta María Millet and Modest Rodríguez Cruells.

Estim. 400 - 450 EUR

Lot 46 - RAMÓN AGUILAR MORÉ (Barcelona, 1924 - 2015). "Still life". Oil on panel. Signed in the upper right corner. Measurements: 25 x 34 cm; 33,5 x 43,5 cm (frame). Born in Barcelona, he began his training as a disciple of Oleguer Junyent, with whom he learned drawing, although he considers himself a self-taught painter. He worked in his studio between 1945 and 1948, and also during these years he made numerous sketches of "music hall" and ballet themes in the Rigalt and Liceo theaters. He held his first exhibition at the Rovira Gallery in Barcelona in 1949, and since then, he has continuously exhibited his works in various galleries in Barcelona and in the main Spanish cities. He has also exhibited abroad, at the Omell Gallery in London, Barbizon in Paris, Palmer House in Chicago, Forum and Hotel Paris in Monte Carlo, and also at the Arts and Culture in Geneva, Artexpo in New York, Art Expo West in Los Angeles and the Munster Circle in Luxembourg. In Barcelona it has reiterated its presence in the Gaspar, Grifé & Escoda, Novell and Rusiñol galleries. The latter celebrated its XXI anniversary in 2007 with a retrospective exhibition of this painter. Outside Barcelona he has also shown his work in prestigious art galleries, including Àgora 3 in Sitges, Alcolea in Madrid and Garbí in Valencia. He has won numerous awards and distinctions, such as the Gold Medal of the City Council of Palma de Mallorca, the Sant Jordi Award from the Diputació de Barcelona, and the Miquel Carbonell and II Mediterranean Games Painting Awards. Aguilar Moré cultivates a decorative expressionism, strong arabesque and bright colors. His work can be found in the Museum of Contemporary Art of Madrid, the Fine Arts and Perrot-Moore museums of Cadaqués, the Provincial Council of Barcelona, the Reina Sofía Museum of Athens, the Fons d'Art of Olot and the Municipal Art Gallery of Palamós.

Estim. 300 - 400 EUR

Lot 47 - JEAN BAPTISTE ÉDOUARD DETAILLE (France, 1848-1912). "Les victimes du Devoir". Photogravure. Published by Goupil & Cie. Measurements: 54 x 46 cm; 61 x 53 cm (frame). This engraving edited by Goupil & Cie, is based on the painting Les Victimes du Devoir" by the artist Édouard Detaille. A French academic painter and military artist, he was noted for his precision and realistic detail. He was considered the "semi-official artist of the French army". Detaille was born in Paris and grew up in Picardy. His was a prosperous military family; his grandfather had been Napoleon's arms supplier. An amateur artist, a friend of several collectors and painters, including Horace Vernet, Detaille's father encouraged his son's artistic endeavors. He began his artistic studies at the age of seventeen with the famous military painter Jean-Louis-Ernest Meissonier; he had originally come to him to ask for an introduction to the celebrated Alexandre Cabanel, but Meissonier decided to teach Detaille himself. Meissonier became a great influence on his style, and it was he who instilled in Detaille an appreciation for accuracy and precision. Detaille made his debut as an artist at the Salon-the official art exhibition of the Académie des Beaux-Arts-of 1867 with a painting from Meissonier's studio.

Estim. 150 - 200 EUR

Lot 48 - DIDIER LOURENÇO (Barcelona, 1968). Untitled. Oil on canvas. Signed in the lower left area. Measurements: 70 x 70 cm; 83 x 83 cm (frame). Didier Lourenço began working in his father's lithography workshop, where he learned the lithography trade. Later he began to make himself known in the field of painting in the early nineties, winning in 1991 the second prize in the XXXIII Young Painting Contest of the Sala Parés in Barcelona. The following year he won the Talens Prize in the same contest, and also the Joan Font de Premià de Mar. He made his individual debut in 1988 at the Sala Hemisferi Sud in Vilassar de Dalt, Barcelona, and since then he has held personal exhibitions in galleries in Barcelona and other Catalan towns. He has also taken part in numerous group exhibitions, including the "Recontres Atlàntiques de l'Art" in Guerande (France). In 2000, a prestigious publishing house and poster distributor took his work all over the world. This worldwide presence quickly aroused the interest of galleries, which would present his original work. Didier had solo exhibitions in New York, Seattle, Los Angeles, Hong Kong, Puerto Rico, New Orleans, Nashville, South Africa, Las Vegas, Miami, Singapore, among many other cities. His style, close and everyday, shows scenes of daily life through a colorful and emotive brushstroke: women on bicycles, strollers wandering the streets, figures in interiors, etc. are some of the images that make up his artistic imagery.

Estim. 1 500 - 1 800 EUR

Lot 49 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989) "Le front de Minerve" (Series "Don Quichotte"), Lithograph, copy 57/300. Signed and justified by hand. Measurements: 69 x 50 cm; 88 x 69 cm (frame). 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 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. 400 - 500 EUR

Lot 50 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989) "L'art d'aimer, D'Ovide". Lithograph, copy E/A. Signed and justified by hand. Measurements: 54 x 74 cm; 73 x 92 cm (frame). Painter and sculptor, Salvador Dalí was one of the maximum 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. 500 - 600 EUR

Lot 51 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989) "The dawn". Lithograph, copy 36/300. Signed and justified by hand. Work belonging to the series "Don Quixote de la Mancha". Measurements: 68 x 51 cm; 35,5 x 27 cm (frame). 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 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. 500 - 600 EUR

Lot 52 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989) Belongs to the series "La Conquête du Cosmos I". 1974 Lithograph, copy 159/195. Signed and justified by hand. Measurements: 84 x 59 cm; 106 x 78 cm (frame). 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 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. 600 - 700 EUR

Lot 53 - KAREL APPEL (Netherlands, 1921 - Switzerland, 2006). "Silvered Kiss". 1978. Lithograph, copy 48/128. Signed and justified in pencil. Measurements: 75 x 103 cm; 80 x 110 cm (frame). Karel Appel was a painter, sculptor and graphic artist. He is currently considered the most vigorous artist of the post-war generation in his country. In 1948 he founded, together with Corneille, Jorn and Alechinsku, the CoBrA International Group, which was decisive in the development and expansion of European automatism between the 1940s and 1950s. During the Nazi occupation of Holland, Apple wandered around the country to avoid being sent to work in Germany. In 1946 he had his first solo exhibition in Groningen, in which the imprint of Dubuffet, with whom he would come to share certain theoretical concepts, was already visible. His first sculptures, pioneering in the assembly of waste materials, date from 1947. Some artists, rejecting the rigor and sectarianism of the surrealist organization, founded the CoBrA group (abbreviations for Copenhagen, Brussels and Amsterdam, cities from which Appel, Corneille and Constant, who signed the inaugural manifesto together with Jorn, Noiret and Dotremont, came from). The CoBrA painters pursued a more spontaneous work, catering to local cultural traditions and collecting fantastic imagery. The group soon disbanded in 1951, but some of its members, notably Appel, Jorn and Alechinsky, maintained its spirit in the following decades. Their painting is characterized by a great expressionist charge linked to the figures of Max Pechstein and Edward Munich, two of the great Nordic expressionists. His work is made with dense impasto and violent color games, which denote the agitated character of Nordic expressionism. Later, his language evolved in a softer line, approaching Hand Edge Painting. Appel was a tireless artist who explored multiple languages, from sculpture, ceramics, mural painting, stained glass or engraving. During his long artistic career he received numerous awards and collaborated with artists from other disciplines such as the poet Allen Ginsberg or the choreographer Min Tanaka. His first successes came in 1953, with the exhibition at the Palais des Beaux Arts in Brussels and his participation in the Biennial of Sao Paulo (he would return in 1959 and win the international prize for painting), and in 1954, when he received the UNESCO prize at the Venice Biennale and exhibited in Paris and New York. Appel is represented at the Guggenheim Museum and MoMA in New York, the Bilbao Fine Arts Museum, the Tate Gallery in London, the Albertina in Vienna, the Thyssen-Bornemisza, the Peggy Guggenheim Collection in Venice and the Fine Arts Museum in Dordrecht, among many others.

Estim. 1 000 - 1 200 EUR

Lot 54 - KAREL APPEL (Netherlands, 1921 - Switzerland, 2006). "Singing hands". Lithograph on paper. Copy 61/100. Signed and justified by hand. Measurements: 107 x 75 cm; 124 x 94 cm (frame). Singing hands is a series created by the artist in 1978, where he repeats the same figure as the protagonist, a man playing a guitar. This portrait is repeated throughout the series varying only in the chromatic range chosen by the author. Karel Appel's work stood out for its chromatic violence and material pastiness. He often created pseudo-human or mythological creatures like the one we are dealing with, which can be read as phobic allegories. Primitivism and infantile or naïff art are reinvindicated by the artist and his group CoBrA (formed in the fifties) to reject the civilizing reason that had led Europe to devastation. Appel's language was based on the conjugation of expressionist aggressiveness and childlike simplicity linked to surrealism. He always remained within the limits of figuration. Karel Appel was a painter, sculptor and graphic artist, and is currently considered the most vigorous artist of the post-war generation in his country. In 1948 he founded, together with Corneille, Jorn and Alechinsku, the CoBrA International Group, which was decisive in the development and expansion of European automatism between the 1940s and 1950s. During the Nazi occupation of Holland, Apple wandered around the country to avoid being sent to work in Germany. In 1946 he had his first solo exhibition in Groningen, in which the imprint of Dubuffet, with whom he would come to share certain theoretical concepts, was already visible. His first sculptures, pioneering in the assembly of waste materials, date from 1947. Some artists, rejecting the rigor and sectarianism of the surrealist organization, founded the CoBrA group (abbreviations for Copenhagen, Brussels and Amsterdam, cities from which Appel, Corneille and Constant, who signed the inaugural manifesto together with Jorn, Noiret and Dotremont, came from). The CoBrA painters pursued a more spontaneous work, catering to local cultural traditions and collecting fantastic imagery. The group soon disbanded in 1951, but some of its members, notably Appel, Jorn and Alechinsky, maintained its spirit in the following decades. Their painting is characterized by a great expressionist charge linked to the figures of Max Pechstein and Edward Munich, two of the great Nordic expressionists. His work is made with dense impasto and violent color games, which denote the agitated character of Nordic expressionism. Later, his language evolved in a softer line, approaching Hand Edge Painting. Appel was a tireless artist who explored multiple languages, from sculpture, ceramics, mural painting, stained glass or engraving. During his long artistic career he received numerous awards and collaborated with artists from other disciplines such as the poet Allen Ginsberg or the choreographer Min Tanaka. His first successes came in 1953, with the exhibition at the Palais des Beaux Arts in Brussels and his participation in the Biennial of Sao Paulo (he would return in 1959 and win the international prize for painting), and in 1954, when he received the UNESCO prize at the Venice Biennale and exhibited in Paris and New York. Appel is represented at the Guggenheim Museum and MoMA in New York, the Bilbao Fine Arts Museum, the Tate Gallery in London, the Albertina in Vienna, the Thyssen-Bornemisza, the Peggy Guggenheim Collection in Venice and the Fine Arts Museum in Dordrecht, among many others.

Estim. 800 - 1 000 EUR

Lot 55 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. Etching, copy 12/35. Signed and justified by hand. Measurements: 77 x 57 cm; 93 x 73 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 56 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Homage to the pipe", 1977. Lithograph, copy 55/75. Signed and justified by hand. Measurements: 76 x 56 cm; 93 x 73 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 500 - 600 EUR

Lot 57 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Don Felipe", 1965. Lithograph, copy 43/60. Signed and justified by hand. Measurements: 75 x 56,5 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 58 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). Untitled, ca. 1970. Lithograph, copy P.A. Signed and justified by hand. Measurements: 56,5 x 76,5 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 59 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "C'est du roi que je parle", 1976. Lithograph, copy 45/75 Signed and justified by hand. Measurements: 76,5 x 56,5 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 60 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "D'aprés Rembrandt III". 1966. Etching, copy E.A. Signed and justified by hand. Presents rust stains. Measurements: 29,5 x 39,5 cm; 50 x 60 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 61 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Homage to El Greco. Cadre Noir", 1965. Lithograph, copy 25/40. Signed and justified by hand. Measurements: 65 x 50,5 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 62 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Poisson, 1959. Lithograph, copy 11/100. Signed and justified by hand. Measurements: 56,5 x 76 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 700 - 800 EUR

Lot 63 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. 1990. Etching, copy 9/25 Signed and justified by hand. Measurements: 24,5 x 32 cm; 50 x 66 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 64 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Pochoirs", 1969. Lithograph, copy 27/45 Signed and justified by hand. Measurements: 76,5 x 56,5 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 65 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "D'aprés Rembrandt III". 1966. Etching, copy E.A. Signed and justified by hand. Presents rust stains. Measurements: 39,5 x 29,5 cm; 66 x 50 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 66 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. 1966. Lithograph, copy H.C. Signed and justified by hand. Edited by Sala Gaspar, Barcelona. Measurements: 66 × 50 cm. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 67 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Guerrier noir", 1970. Engraving, copy 68/75 Signed and justified by hand. Measurements: 60 x 39,5 cm; 76 x 57 cm (frame). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the 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. 600 - 700 EUR

Lot 68 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "La Fiesta (Spain). Soccer World Cup", 1982. Lithographic poster. Signed in plate. Measurements: 95,5 x 60,5 cm. In 1982, on the occasion of the celebration of the World Cup in Spain, several artists were commissioned by the federation to immortalize the event. Miró configured the official image of this tournament, turning it into an international symbol. Joan Miró trained in Barcelona, and made his individual debut in 1918, at the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. This lithograph shows us the most essentialist Miró in his search for minimal and suggestive forms. The ranges limited to a few colors applied on flat and shiny surfaces, combine to evoke the lyrical communion of man and the environment.

Estim. 300 - 400 EUR

Lot 69 - JOAN MIRÓ I FERRÁ (Barcelona, 1893 - Palma de Mallorca, 1983). Belonging to the series "Proverbes à la main", 1970. Lithograph, copy 96/100. Signed with monogram and justified in pencil. Measurements: 62 x 82 cm (folded); 75 x 95 cm (open). Joan Miró is formed in Barcelona, between the School of the Fish market and the Galí Academy. Already in the early date of 1918 he makes his first exhibition, in the Dalmau Galleries of Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Estim. 400 - 500 EUR

Lot 70 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Barcelona 82" Lithographic poster. Signed. Measurements: 95 x 60 cm; 96 x 61 cm (frame). Tapiés's poster focuses on the theme of World Cup 82 alluding to what remains of the party using an old newspaper, a foot ready to kick and a ball crossed out with a cross. All this with a symbolic graphic representation of Barcelona. Antoni Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally left his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the Grand Prix de Painting of France, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 500 - 600 EUR

Lot 71 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). Untitled. Included in "Llambrec material", 1975. Lithograph, copy P.A. Signed and justified in pencil. Work published in "Tàpies. Graphic work. 1973 - 1978", by Mariuccia Galfetti, nº 539 (Barcelona; Gustavo Gili, 1990). Measurements: 76 x 54,5 cm. Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. As a result of his solo exhibition in 1953 at the New York gallery of Martha Jackson, his international projection is strengthened. He was awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Prize of Culture, the Grand Prize of Painting of France, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 600 - 700 EUR

Lot 72 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als mestres de Catalunya", 1974. Lithograph, copy P.A. Signed and justified by hand. Sala Gaspar publisher, Damià Caus printer, Barcelona. Work published in "Tàpies. Graphic work. 1973 - 1978", by Mariuccia Galfetti (Barcelona; Gustavo Gili, 1990), nº 493, p. 115. Measurements: 100 x 69 cm. Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. As a result of his solo exhibition in 1953 at the New York gallery of Martha Jackson, his international projection is strengthened. He was awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Prize of Culture, the Grand Prize of Painting of France, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 600 - 700 EUR

Lot 73 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als mestres de Catalunya", 1974. Lithography, copy P.A. Sala Gaspar publisher, Damià Caus printer, Barcelona. Signed and justified by hand. Work published in "Tàpies. Graphic work. 1973 - 1978", by Mariuccia Galfetti, nº 488 (Barcelona; Gustavo Gili, 1990). Measurements: 100 x 69 cm. It belongs to the album "Als mestres de Catalunya", formed by eight lithographs and a silkscreen, including the one on the cover, published by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Gerona, silkscreen). On Guarro paper with the publisher's watermark, and Kraft paper for the silkscreen printing of the outer wrapping of the album. The album also contains, printed separately, two poems by Joan Brossa. Tàpies was initiated in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. As a result of his solo exhibition in 1953 at the New York gallery of Martha Jackson, his international projection is strengthened. He was awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Prize of Culture, the Grand Prize of Painting of France, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 600 - 700 EUR

Lot 74 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als Mestres de Catanlunya". Lithograph, copy P.A. Signed and justified in pencil. Measurements: 100 x 70 cm. 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 Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. 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 importance to the material substratum 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 Prix de 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 Prize for the Plastic Arts (2003). 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. 600 - 700 EUR

Lot 75 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als Mestres de Catanlunya". Lithography. Exemplar P.A. Signed and justified in pencil. Measurements: 100 x 70 cm. This work belongs to the album "Als mestres de Catalunya", formed by eight lithographs and a silkscreen, including the one on the cover, published by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Gerona, silkscreen). 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 Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. 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 importance to the material substratum 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 Prix de 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 Prize for the Plastic Arts (2003). 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. 600 - 700 EUR

Lot 76 - ANTONI TÁPIES PUIG (Barcelona, 1923 - 2012). "Als Mestres de Catalunya", 1973. Lithography on paper. Exemplary P.A. Published by Sala Gaspar. Signed and justified in pencil. Measurements: 78 x 60 cm. 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 Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. 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 importance to the material substratum 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 Prix de 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 Prize for the Plastic Arts (2003). 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. 600 - 700 EUR

Lot 77 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als Mestres de Catanlunya". Lithograph, copy P.A. Signed and justified in pencil. Measurements: 100 x 69 cm. This work belongs to the album "Als mestres de Catalunya", formed by eight lithographs and a silkscreen, including the one on the cover, edited by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Gerona, silkscreen). 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 Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. 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 importance to the material substratum 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 Prix de 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 Prize for the Plastic Arts (2003). 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. 600 - 700 EUR

Lot 78 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als mestres de Catalunya", 1974. Lithography Sala Gaspar publisher, Damià Caus printer, Barcelona. Signed and dedicated by hand. Work published in "Tàpies. Graphic work. 1973 - 1978", by Mariuccia Galfetti, nº 488 (Barcelona; Gustavo Gili, 1990). Measurements: 100 x 69 cm. It belongs to the album "Als mestres de Catalunya", formed by eight lithographs and a silkscreen, including the one on the cover, published by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Gerona, silkscreen). On Guarro paper with the publisher's watermark, and Kraft paper for the silkscreen printing of the outer wrapping of the album. The album also contains, printed separately, two poems by Joan Brossa. Tàpies was initiated in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. As a result of his solo exhibition in 1953 at the New York gallery of Martha Jackson, his international projection is strengthened. He was awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Prize of Culture, the Grand Prize of Painting of France, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 200 - 1 400 EUR

Lot 79 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Als mestres de Catalunya", 1974. Lithograph, copy P.A. Signed and justified in pencil. Measurements: 100 x 70 cm. Belongs to the album "Als mestres de Catalunya", consisting of eight lithographs and a silkscreen, including the one on the cover, published by Sala Gaspar in Barcelona and printed by Damià Caus (Barcelona, lithographs) and Alexandre Tornabell (Girona, silkscreen). On Guarro paper with the publisher's watermark, and Kraft paper for the serigraphy of the outer wrapping of the album. The album also contains, printed separately, two poems by Joan Brossa.

Estim. 600 - 700 EUR

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