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10th July - Contemporary Art and latest trends II

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Lot 1 - JO DELAHAUT (Vottem, 1911 - Schaerbeek, 1992). "Carrés monochromes", 1986. Acrylic on canvas. Signed, dated at the bottom. Titled, signed and dated on the back. Measurements: 91 x 72 cm. The Belgian painter Jo Delahaut approached in the forties the geometric abstraction with a radicalism unknown at that time in his artistic environment. The work shown here belongs to his period of maturity, when the artist extreme formal and chromatic purism, which can be compared with the American works of the "hard edge" and "minimalism". But, at the same time, he picks up Mondrian's legacy. His geometric abstraction was a means of awakening the mechanisms of intellectual activity, a metalanguage addressed to the mind. Nourishing the ancestral dialectic relationship between form and color, he used plane geometry in his work because he considered it "the most representative of man". He stresses this idea when he writes: "it brings clarity to representation; it is legible, intuitively understandable even to those who are ignorant of the theory". Jo Delahaut is one of the leading figures of geometric abstraction in Belgium. Trained at the Academy of Fine Arts in Liege, he was a student of Auguste Mambour (1928-1934). He received a doctorate in Art History from the University of Liège and began painting expressionist canvases in 1940. Influenced by the style of the painter Auguste Herbin, he constructed static geometric forms in which, initially, the color of the surfaces played the main role. He was a member of the Salon des Réalités Nouvelles in Paris in 1946, and of the Jeune Peinture Belge in Brussels in 1947, alongside Mig Quinet (1906-2001), Louis Van Lint (1909-1986), Gaston Bertrand (1910-1994), Marc Mendelson (1915-2013) and Anne Bonnet (1908-1960). He was a founding member of the Belgian group Art Abstrait in 1952, and in 1954 co-authored the Manifeste Spatialiste with Pol Bury (1922), among others. Works: panels for the University Hospital Center of Liège (silkscreen on vitrified enameled steel panels, 1978-1985), collection of the Musée en plein air du Sart Tilman (University of Liège). "Esplanade" (1987), in the Musée en plein air du Sart-Tilman, University of Liège (work restored in 2011). Decoration of the Montgomery station of the Brussels subway. Symphonie n°2, 1986 (Université libre de Bruxelles - Archives, patrimoine, réserve précieuse).

Estim. 9 000 - 10 000 EUR

Lot 3 - CUNDO BERMÚDEZ (Havana, Cuba, 1914- Florida, USA, 2008). Untitled. Oil on canvas. Attached certificate of authenticity issued by Don Conrado Basulto. It presents dirt and does not conserve stretcher frame. Measurements: 49,5 x 60 cm. The painting inspired in stained glass windows was common in the Cuban painting, example of it is the present work that stands out for its brilliantly simple compositions, in which the synthetic cubism and the stained glass windows of the colonial epoch are fused together. Bermúdez magnified the stained glass into a dreamlike theater where languid musicians and ornate women inhabit kaleidoscopic chessboards. The atmosphere of glassy sensuality in Bermudez's paintings is ambiguous. Ennui folds into inhaled luxury, pleasure gels in the amber of a dreamy image. Don Conrado Basulto, Cuban artist, left his country for the United States in 1994. Upon his entry into America, he was detained in Guantanamo, where he met Cundo Bermudez and founded a gallery. Secundino Bermúdez y Delgado, known as Cundo Bermúdez, was a Cuban painter who in 1926 Bermúdez entered the Instituto de La Habana and in 1930 the Escuela Nacional de Bellas Artes San Alejandro in the same city, where he studied painting for two years. Together with other painters and as a protest against the absence of art galleries, Bermudez exhibited his works in the trees of Albear Park and also participated in an exhibition held at the Castillo de la Fuerza in 1938. It was there that he achieved certain recognition. Later he traveled to Mexico to study at the San Carlos Academy, where he was able to observe closely the work of the muralists that caused a great impression on the painter. Years later he travels to the Dominican Republic where he sells his first painting and also holds his first individual exhibition. In 1943, "An Exhibition of Modern Cuban Painting and Sculpture" is inaugurated, organized by José Gómez Sicre at the Institución Hispano Cubana de Cultura in Havana. The Mexican David Alfaro Siqueiros attends and says of Bermudez the following: "Cundo Bermudez represents audacity in the plastic arts. He knows how to build in a synchronized way. With tones and close-ups placed in pictorial depth, in contrast, he builds and organizes, sometimes in an almost miraculous way. I believe that this artist has had great importance in the chromatic range of modern Cuban painting". A year later, the Cuban Painting Exhibition was inaugurated at the Museum of Modern Art in New York (MOMA), which was a great impulse for his work, and he exhibited in San Francisco, Buenos Aires and Mexico. In 1949, he founded, among others, the Association of Painters and Sculptors of Cuba (APEC). He exhibited in several countries of America and Europe. His works were exhibited at the Museum of Modern Art in Paris in 1951 and in Munich in 1952. Four years later, in 1956, he exhibited at the Sao Paulo Biennial and won first prize at the "International Caribbean Art Exhibition" at the Museum of Art in Houston, Texas. When Fidel Castro came to power in 1959, Cundo participated in efforts to free political prisoners. In Cuba, like other artists, he is subjected to irrational isolation. Journalists and intellectuals visiting the island ask about him. He is denied materials to work with. He is not invited to national exhibitions. At the end of the 1960s, he managed to leave Cuba for the United States. Attached certificate of authenticity issued by Don Conrado Basulto. It has dirt and no stretcher frame.

Estim. 16 000 - 18 000 EUR

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

Estim. 10 000 - 12 000 EUR

Lot 5 - JOSEP GUINOVART (Barcelona, 1927 - 2007). "Pelaires", 1989. Mixed media on canvas. Signed and dated in the lower left corner. Measurements: 145 x 114 cm. In this painting from the eighties, Guinovart visually breaks with the two-dimensionality of the pictorial surface, making shapes, colors and textures collide. Without crossing the limits of abstraction, the organic suggestions gain relief among the reds and the chiaroscuro of blacks and whites embedded in generous matter. Guinovart summons the material chaos and at the same time subjugates it through an intuitively orchestrated composition. The author gives the viewer an image impregnated with lyricism. The material and gestural impulse is subsumed to a great plastic coherence. Josep Guinovart was trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He soon acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Estim. 7 000 - 8 000 EUR

Lot 6 - FERRÁN GARCÍA SEVILLA (Palma de Mallorca, 1949). "Bol 16", 2005. Acrylic on canvas. Signed on the back. Provenance: Joan Prats gallery in Barcelona. Attached a label of the gallery Joan Prats. Measurements: 152 x 172 cm. In this composition of festive character, without ceasing to be conceptual and intellectual (in the line of the bulk of his pictorial experimentations), García Sevilla dialogues with the legacy of abstract expressionism and even with pointillism to hatch this heritage in chromatic supernovas. Initially linked to art theory and criticism, García Sevilla has been a professor of Fine Arts in several universities. He made his individual debut in 1972. After starting his artistic career in conceptual art, he ended up in painting and graphics, framed in the so-called postmodern art. He usually arranges well-defined figures, often anthropomorphic, on neutral backgrounds or with insistently repeated motifs. He uses rich, vivid and contrasting chromatic ranges, with a simplified language, sometimes close to primitive art. García Sevilla's enormous paintings, his forceful images, his often brutal humor, the texts that occupy part of the surface of these paintings, his expressive capacity, have become familiar to Spanish viewers as well as to those of other countries. Endowed with an imagination almost as prodigious as his will, García Sevilla is a veritable machine for producing paintings, for devouring and transforming images. All this finds its translation in the verbal plane: since his famous interview with Kevin Power, collected in the latter's book "Conversations with..." (1985), nobody doubts that García Sevilla is one of the Spanish painters who has more things to say, and who, under an appearance of improvisation and, if necessary, delirium, gives more turns to the meaning of his work. In this aspect, his case is reminiscent of that of Miró, to whom he has always shown great admiration. He has had solo exhibitions in Europe and the United States, and participated in group exhibitions in Hamburg, Vienna, Munich, St. Petersburg, Lisbon, and several Spanish cities, as well as in the Documenta in Kassel (1987) and the Biennials of Istanbul (1989) and São Paulo (1996). Among the personal exhibitions he has held in recent years are those at the Elga Wimmer Gallery in New York (1992), the Thomas Netusil Kunsthandel in Vienna (2000) and the Fúcares gallery in Madrid (2008). García Sevilla is represented at the Centre Pompidou in Paris - National Museum of Modern Art, the Reina Sofía National Museum, the MACBA in Barcelona, the Atlantic Center of Modern Art in Las Palmas, the CaixaForum in Barcelona, the Suñol Foundation, the Ico Collections Museum, the Es Baluard in Palma de Mallorca, the IVAM in Valencia, the Juan March Foundation, the Patio Herreriano Museum in Valladolid, the ARTIUM in Vitoria and the MuHKA in Antwerp.

Estim. 8 000 - 10 000 EUR

Lot 7 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Hommage a Doménikos Theotokópoulos", 1964. Oil on adhered paper. Provenance: Sala Gaspar in Barcelona / Tamenaga Gallery in Tokyo. With labels of both galleries on the back. Measurements: 110 x 75 cm; 125 x 90 cm (frame). The figure of El Greco occupies a decisive place in the work of Antoni Clavé. It was not a mere homage what he carried out in drawings, engravings and in a series of paintings of the sixties of which the excellent oil painting that occupies us is part, but a path of plastic and conceptual self-exploration. "The gentleman with his hand on his chest" and "Portrait of a painter" seem to be the referents of this painting. The character appears here transfigured to the highest degree, and yet the essence of El Greco is very present. The author preserves the Cretan painter's range of blacks and ochers, and the silhouette continues to face us. In his hand he seems to hold a brush as in the portrait of Jorge Manuel Theotocópuli, who in El Greco's painting holds the palette with the other. The ruff has been transformed into a sort of pale garland that haloes the entire head. The whole suggests a spectral presence, which can be translated as a tribute to an artist who left an indelible mark on future generations. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Trained at the Escuela de Bellas Artes de San Jordi in Barcelona, Clavé was initially dedicated to advertising graphics, illustration and decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Estim. 18 000 - 20 000 EUR

Lot 8 - ESTEBAN VICENTE PÉREZ (Turégano, Segovia, 1903 - New York, 2001). "Blue gray", Long Island, 1963. Oil on canvas adhered to cardboard. Signed and dated in the upper right corner. Signed, dated, located and titled on the back. Measurements: 26 x 33 cm; 42 x 50 cm (frame). Esteban Vicente enters, in 1921, in the School of Fine Arts of San Fernando, in Madrid, with the purpose of being formed as sculptor, but soon he decides to dedicate himself to the painting. In 1928 he held his first exhibition, after which he went to Paris, where he remained until 1930. He returned to Spain and exhibited in Barcelona and Madrid, and after the outbreak of the Civil War he worked in hiding in the mountains surrounding the capital. However, the same year of 1936 he decides to go to New York, his wife's place of origin. There he exhibited for the first time at the Kleeman Gallery in 1937. Four years later he obtained the American nationality since, having been a supporter of the Republican side, he decided not to return to Spain. He carried out numerous commissions and exhibitions in the following years, and between 1947 and 1947 he was a professor of painting at the University of Puerto Rico. Upon his return to the United States he established a relationship with the nascent New York School, participating in his exhibitions at the Kootz Gallery (1950), the Ninth Street Art Exhibition (1951) and at the Sidney Janis and Egan Galleries. He was a founding member of the New York Studio School, where he taught for thirty-six years. From the eighties onwards his work began to be known in Spain, retrospectives were dedicated to him (Banco Exterior, 1987, and Museo Reina Sofía, 1997) and he was awarded mentions such as the Gold Medal for Merit in Fine Arts (1990) and the Great Cross of Alfonso X the Wise (1999). In 1998 the Esteban Vicente Museum of Contemporary Art was inaugurated in Segovia, where a large part of his work is preserved today. Vicente's works are kept in major contemporary art museums around the world, such as the Metropolitan, the Guggenheim and the MOMA in New York, the Museo Nacional Reina Sofia in Madrid, the Smithsonian in Washington D.C., the Withney Museum of American Art or the Indianapolis Museum of Art, among others.

Estim. 5 000 - 6 000 EUR

Lot 10 - SUSANA CRUZ (Madrid, 1992). "The dream", Equilibrium Series, 2023. Oil on canvas. Signed and dated in the lower right corner. Signed and dated on the back. Measurements: 180 x 150 cm. In the painting the girl shows the innocence before the painting, the happiness of staining herself with oil and enjoying with the canvas. Behind, the woman, already an adult, observing the image, remembering why she continues day by day, accompanied by the sculpture, who has made her discover an infinite world of creations. The lion watches over the scene serenely, providing a protective barrier. All the characters, with a certain baroque air, are in my mind, the different emotions that make me calmly and emotionally begin to create. This is an oil painting painted with a palette knife, except for the smooth background which has been worked with a roller and palette knife. This contrast of textures, along with the contrast of black tone, tan shade and white, reflects strength and expressiveness making the characters acquire the leading role and capture the viewer's attention. Susana Cruz was educated at the Polytechnic University of Madrid, where she studied Materials Engineering and later a Master's Degree in Business Consulting. Her interest and knowledge of painting has been acquired in a self-taught way, according to the artist: "Painting allows me to express myself and immerse myself in my world. I have even cried while painting and most of the time my skin crawls when I listen to good music in the background while I let myself be carried away by the oil painting". He began to define my style thanks to the period when he lived in Italy. Currently, his work is inspired by baroque painting, and the passion for the dramatic use of chiaroscuro, taken to a more personal terrain.

Estim. 2 400 - 2 600 EUR

Lot 11 - PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973). "Visage larvé". From the collection "Gold Medallion".1967. Gold 23 kts, 6/20. Edition limited to 20 copies. Publisher Pierre Hugo. Signature of the artist and engraved numbers on the back. In its original wooden case. Measurements: 5 cm. diameter (medallion); 13 x 13 x 3 cm. (box). Each of the fifteen pendant medallions of the "Gold Medallion" series bears the signature of the artist and the reference and edition numbers of François Hugo. Conceived in 1956 and produced after 1967, in a numbered edition of 20 copies, plus 2 artist's and 2 author's copies. Picasso's fascination with exploring new media leads us to his representation of a favorite motif: a fish resting inside another fish. The theme appears in his ceramic works, such as "Grand Poisson (Big Fish), 1956," but it is in gold that the delicacy and intricacy of the two fish come to life. The line is beautiful and the whimsy is beautifully expressed in this rare medium. In the 1950s and 1960s, Picasso commissioned Francois Victor-Hugo, one of the most accomplished goldsmiths working in France at the time, to execute a series of gold and silver fountains, plates and medallions from original models he had designed. These fountains and medallions were individually selected, designed, viewed, approved and appreciated by Picasso during his lifetime with such fervor that, at first, he never intended to sell them for profit. Thus, at first, their existence was shrouded in secrecy. Picasso refused to lend any of them to galleries and museums and hid them from visitors to his home, opting instead to keep them as a private treasure. However, Picasso yielded to Hugo's insistence and, in 1967, authorized him to make a small "numbered edition" of each for sale. They were not sold publicly, but sent to their respective buyers, so they attracted hardly any publicity, which made them quite rare. Working together for the next ten years, Picasso and Hugo created nineteen gold medallions and in each series twenty complete series were made plus two reserved for the artist, each series consisting of nineteen gold medallions.

Estim. 15 000 - 18 000 EUR

Lot 14 - MATÍAS SÁNCHEZ (Germany, 1972). "Painter", 2010. Oil on canvas. Signed in the lower left corner. Signed, dated, titled and located on the back. Measurements: 97 x 130 cm. In this work the author uses an abstract language, based on irregular geometry, organic in both its layout and colors. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thoughtful composition and experimentation, with an image of gestural character, not limited to an abstract composition, but go beyond, indicating to the viewer that it is about forms, ideas or suggestions that cross the boundaries of the purely pictorial and tell us about the painter's own craft. Matias Sanchez was born in Germany in 1972 and was self-taught. He has always felt an impulse for art that led him to develop an artistic career. Matias Sanchez made his first exhibition in Cavecanem in 2001 and a year later his work was exhibited at Arco where he received a warm welcome from critics. In 2003 he repeated his experience at the Contemporary Art Fair held in Madrid, being his work collected and disseminated in the newspaper El País. This was a turning point in his career, which led to numerous solo and group exhibitions, both nationally and internationally. Among which include the exhibition at the gallery Begoña Mallone (Madrid), Javier Marín (Málaga), Valle Ortí (Valencia), Espacio Liquido (Gijón), "Christopher Cutts Gallery" (Toronto - Canada) and Costantini Art Gallery (Milan - Italy). His work has been exhibited in various contemporary art reference spaces such as the CAAM - Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria) or the CAC Malaga. In addition to ARCO, MACO 2013 - Mexico Arte Contemporáneo, Art Stage Singapore 2013, Art Monaco 2013, India Art Fair 2013, Contemporary Istanbul 2012, Art Toronto 2012, Art Moscovo 2012 and Beirut Art Fair 2012.

Estim. 14 000 - 15 000 EUR

Lot 15 - MODEST CUIXART I TÀPIES, (Barcelona, 1925 - Palafrugell, Girona, 2007). Untitled, 1959. Oil on canvas. Measurements: 100 x 81 cm; 102,5 x 83,5 cm (frame). This work is part of the stage developed by Cuixart in the fifties, marked by a deep and rich informalism. In these years the painter will work with the strength of thick materials and "grattage" (from 1957), creating dense and baroque works in which he will introduce all kinds of objects. His work from this period will be recognized in 1959, with the Grand Prize for Painting at the V Biennial of São Paulo. These deep, complex works reflect a darker and more critical vision of the society of the time than what we will see in his next stage, close to pop art. In this work we can also see central motifs of his language, such as the circle, the spiral and concentric forms. He also uses quick-drying plastic paints, a novelty at the time of which he was a pioneer, to create relief effects in ocher tones, a constant in his work at this time. Cuixart initially studied medicine, but soon abandons his studies to devote himself to painting, and enters the Academia Libre de Pintura in Barcelona. In 1948 he participated in the founding of the group Dau al Set, along 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. 15 000 - 16 000 EUR

Lot 19 - JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997). "El retorn del fill pródig", 1952. Oil, wax, pastel and gouache on cardboard. Signed, dated and titled on the back. With Oriol Galeria d'Art label on the back. Measurements: 74,5 x 103,5 cm; 94 x 123 cm (frame). The one now on auction is an early work of the painter Josep Roca Sastre, corresponding to a stage prior to the realization of his intimate interior scenes. The canvas is characterized by an aura of a certain mysticism and magical self-absorption, with the presence of what appears to be a spiritual guide with a cane and a character who venerates him. Trained in Barcelona, from the sixties onwards Roca initiated a personal, independent style and created his own language. His proposal focused on recovering the look of the close and the everyday, the known. He exhibited for forty years in the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honor at the Salon des Artistes Français in Paris. In 1980 he became a member of the Royal Academy of Fine Arts of Sant Jordi, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell. Roca Sastre developed a figurative style of intimate themes, applying a personal and subjective look to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is preserved in the National Museum of Art of Catalonia.

Estim. 2 000 - 2 500 EUR

Lot 20 - JEAN-MARC BUSTAMANTE (Touluse, 1952). "Barcelona 6", 1997. Photography, ed. 3/6 Measurements: 40 x 60 cm; 67 x 85 cm (frame). Of Ecuadorian father and English mother, this French artist (Toulouse, 1952) occupies one of the most outstanding places in contemporary European art. After studying economics in his hometown between 1969 and 1972, he studied photography with Denis Brihat between 1973 and 1975. In 1977 he made his first Site, a photograph that will be part of the series that will find its definitive title in Tableaux and that will be presented for the first time as a group at the Kunsthalle Bern in 1994. Almost simultaneously, in 1978, he began to work as assistant to the photographer and filmmaker William Klein, an activity he maintained until 1981, when he decided to devote himself entirely to his artistic activity. Between 1983 and 1987, he entered a phase of collaborative work with Bernard Bazile and, under the name BAZILEBUSTAMANTE, attracted the attention of the art world with his projects on visual codes and sign systems, exhibited in several galleries and at the Musée Saint-Pierre in Lyon in 1986. Since 1987 he has continued alone with his particular photographic work, among which sculptures, installations and silkscreen prints on methacrylates begin to emerge in an apparently asystematic project that, under its heterogeneity, configures one of the most solid, coherent and unitary artistic programs of the present time. With it he has represented France at the Venice Biennial (2003) and has participated in the Paris Biennial (1980), the São Paulo Biennial (1994) and Documentas VIII, IX and X in Kassel (1987, 1992 and 1997). His work has been the subject of monographic presentations in some of the major international museums, including the Kunsthalle Bern (1989 and 1994), Musée d'art moderne de la Ville de Paris (1990), Stedelijk van Abbemuseum, Eindhoven (1992), Galerie National du Jeu de Paume, Paris (1996), Tate Gallery, London (1998), Yokohama Museum of Art (2002), Kunsthaus Bregenz and Musée d'art moderne et contemporain, Saint-Etienne (2006), Musée d'art moderne et contemporain, Strasbourg (with Ed Ruscha) (2007), Palais des Beaux-Arts, Brussels (2008) and Villa Medici, Rome (2011). The decade of the 10s saw the beginning of retrospectives on his work, initiated in Moscow at The Ekaterina Cultural Foundation (2010), followed by the one organized by the Henry Moore Institute, Leeds (2011) and Sala Alcalá 31, Madrid (2012). In 2008, Jean-Marc Bustamante was distinguished with the Medal of Chevalier of the French Legion of Honor, and between 2012 and 2015 he has been Director of the International Art Festival of Toulouse. After years of teaching as a professor of sculpture, first at the Rijksakademie in Amsterdam (1990-1995) and at the École Superieur Nationale de Beaux-Arts in Paris (since 1996) and then as a professor of painting at the Kunstakademie in Munich (since 2010), he has just been appointed Director of the École Nationale Supérieure des Beaux-Arts in Paris.

Estim. 2 000 - 2 400 EUR

Lot 21 - THOMAS RUFF (Zell am Harmersbach, Germany, 1958) "Interieur 6 E", 1983. Photograph C-Print. Ed. 8/20. Measurements: 21 x 28 cm; 47 x 57 cm (frame). Thomas Ruff (Zell am Harmersbach, Germany, 1958) began his career with landscape photography, after which he moved on to photograph interiors and inexpressive portraits of his friends, as part of the generation that took part in the political and social changes that occurred with the fall of the Berlin Wall. Between 1977 and 1985 Ruff studied photography at the Academy of Fine Arts in Düsseldorf, along with other photographers, today of recognized prestige, such as Candida Höfer, Andreas Gursky and Thomas Struth, and who are part of the so-called Düsseldorf school, whose parents are Hilla and Bernd Becher. His first portraits are small format and in black and white, but he soon makes the transition to color. In 1986 he began to experiment with large formats. With his series Haus (1987-91) he explores themes beyond portraiture. Other relevant series from this period are Zeitungsfotos (1990-91) or BlaueAugen (1991). During the Gulf War, Ruff uses a night viewfinder to produce gloomy images of the streets of Düsseldorf in his series Nacht (1992-96). In his later works he continues to explore the digital manipulation of images, in this context he executes his series of nudes, the Substrat series (2002-03) and the Machine series (2003). Ruff has had solo exhibitions since 1981 in various international centers and museums. He lives and works in Düsseldorf.

Estim. 1 800 - 2 200 EUR

Lot 22 - FRANCISCO VIDAL (Lisbon, 1978). "Time Run". 2009 Oil on canvas (diptych). Signed in the lower left corner. Signed and dated on the back. Measurements: 134 x 308 cm; 138 x 312 cm (frame). Based on a still from the cult film "Pulp Fiction" by Tarantino, Francisco Vidal places the gangsters played by John Travolta and Samuel L. Jackson on a strident red background, and replaces one of the guns with a banana. An intense yellow stain spreads out, suggesting an explosion. It is a painting formed by two canvases, which results in an expanded scene impregnated with freshness and carefree. The painter Francisco Vidal lives between Luanda (Angola) and Lisbon (Porturgal). Graduated in Plastic Arts at Escola Superior de Artes e Design das Caldas da Rainha, he took an advanced course in Visual Arts at Escola de Artes Visuais Maumaus, in Lisbon. She lived for some time in the United States, obtaining a Master of Fine Arts degree at the School of Visual Arts at Columbia University, New York. She began exhibiting regularly in 2005. In 2014 he presented the painting project "Utopia Luanda Machine" at 56th Venice Biennale, in the Angolan Pavilion, curated by António Ole, and at Expo Milano, curated by Suzana Sousa. In 2016, the project "ESCOLA DE PAPEL" was presented in Luanda and, in 2017, in São Tomé. and Príncipe. Francisco Vidal's practice highlights ideas around work and international mobility. Recognized for his large pictorial installations, he draws powerful calligraphic lines on silkscreen canvases, in vivid colors and varied chromatic combinations. He also practices a figuration rooted in the language of comics. He has works in national collections, such as those of the EDP Foundation, Calouste Gulbenkian Foundation, Cachola Foundation, and international collections.

Estim. 8 000 - 10 000 EUR

Lot 23 - KARIMOKU CASE STUDY (Japan) for Medicom Toy. "Medicom Toy 10th Anniversary, 1996-2006", 2006. 400% Be@rbrick. Natural wood. Limited edition of 100. In original box. In good condition. Measurements: 28 cm (height). The collaboration between Karimoku Case Study and Medicom Toy was due to the 10th Anniversary of the Japanese Toys firm. The material used, wood, demonstrates the knowledge and genuine love for this material that Karimoku, a company considered the leading manufacturer of furniture in Japan, exudes. Karimoku itself states "With Karimoku Case Study we wish to present a thoughtful brand that serves as a guardian of the natural and timeless, using materials that possess an inherent richness and gain beauty with time and age". The Art Toys revolution reaches in the Be@rbrick one of its maximum representatives. Its simple but attractive image in the form of an articulated bear (similar to a piece of brick, hence its name) and its inexhaustible variety of designs made by different and famous artists make it an object of desire for new and established collectors. Designed and produced by the Japanese company MediCom Toy Incomporated and launched in 2001 as a gift to visitors to the World Character Convention 12 in Tokyo, the Be@rbrick features nine distinct parts (known as "tools" in the toy industry) that allow for eight diverse points of articulation: rotating head, rotating waist, ball-jointed arms, rotating wrists and ball-jointed legs. Sizes range from 7 cm high (known as 100% Be@rbrick, standard size), followed by 400% Be@rbrick (28 cm high) or 1000% Be@rbrick (70 cm high). Other sizes are smaller than standard, such as 50% Be@rbrick (4 cm) or 70% Be@rbrick (5 cm). Among the most recognizable collaborations are those with Kaws, the Andy Warhol Foundation, Jean-Michel Basquiat, Keith Haring, Disney, Looney Tunes, DC Comics and even the Louvre Museum and Chanel. Many celebrities also collect Be@rbrick, from music producer Pharrell Williams to the former creative director of Vogue, Grace Coddington. In good condition.

Estim. 7 000 - 8 000 EUR

Lot 24 - HAVE A GOOD TIME (Tokyio) for Medicom Toy. 400% & 100% Be@rbrick. Produced by Medicom Toy. In original box. In good condition. Measurements: 28 cm and 7 cm; 30 x 20 x 11 cm (box). Medicom Toy partners with Tokyo-based fashion brand Have A Good Time to bring fans their latest collaboration. Since its initial conception, Have A Good Time has gained popularity through a series of international collaborations with Adidas, Vans and BEAMS. The Art Toys revolution reaches in the Be@rbrick one of its maximum representatives. Its simple but attractive image in the form of an articulated bear (similar to a piece of brick, hence its name) and its inexhaustible variety of designs made by different and famous artists make it an object of desire for new and established collectors. Designed and produced by the Japanese company MediCom Toy Incomporated and launched in 2001 as a gift to visitors to the World Character Convention 12 in Tokyo, the Be@rbrick features nine distinct parts (known as "tools" in the toy industry) that allow for eight diverse points of articulation: rotating head, rotating waist, ball-jointed arms, rotating wrists and ball-jointed legs. Sizes range from 7 cm high (known as 100% Be@rbrick, standard size), followed by 400% Be@rbrick (28 cm high) or 1000% Be@rbrick (70 cm high). Other sizes are smaller than standard, such as 50% Be@rbrick (4 cm) or 70% Be@rbrick (5 cm). Among the most recognizable collaborations are those with Kaws, the Andy Warhol Foundation, Jean-Michel Basquiat, Keith Haring, Disney, Looney Tunes, DC Comics and even the Louvre Museum and Chanel. Many celebrities also collect Be@rbrick, from music producer Pharrell Williams to the former creative director of Vogue, Grace Coddington. In good condition.

Estim. 500 - 550 EUR

Lot 25 - FERRAN GARCIA SEVILLA (Palma de Mallorca, 1949). Untitled. Mixed media on hard cardboard. Signed on the back. Measurements: 75 x 53 cm; 95 x 72 cm (frame). Ferran Garcia Sevilla was one of the most relevant figures of the conceptual art of the seventies, reinventing himself later to satisfy a restless and versatile nature. The iconographic syncretism of his symbolic universe is reflected in this painting. Initially linked to art theory and criticism, García Sevilla has been a professor of Fine Arts in several universities. He made his individual debut in 1972. He has had solo exhibitions in Europe and the United States, and participated in group exhibitions in Hamburg, Vienna, Munich, St. Petersburg, Lisbon, and several Spanish cities, as well as in the Documenta in Kassel (1987) and the Biennials of Istanbul (1989) and São Paulo (1996). Among the personal exhibitions he has held in recent years are those at the Elga Wimmer Gallery in New York (1992), the Thomas Netusil Kunsthandel in Vienna (2000) and the Fúcares gallery in Madrid (2008) García Sevilla is represented at the Centre Pompidou in Paris - National Museum of Modern Art, the Museo Nacional Reina Sofía, the MACBA in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the CaixaForum in Barcelona, the Fundación Suñol, the Museo Colecciones Ico, the Es Baluard in Palma de Mallorca, the IVAM in Valencia, the Fundación Juan March, the Museo Patio Herreriano in Valladolid, the ARTIUM in Vitoria and the MuHKA in Antwerp.

Estim. 1 800 - 2 000 EUR

Lot 26 - KAWS (New Jersey, 1974) for Medicom Toy. "Snoopy Peanuts," 2010. Vinyl. Stamp on the base. Limited edition to 500 copies. In its original box. Measurements: 20 x 10 x 14 cm. Kaws reappropriates pop culture icons such as Mickey Mouse, the Michelin Man, the Smurfs, Snoopy or SpongeBob SquarePants. His characters are generally depicted in a timid or helpless pose often with their hands over their eyes or, as we see here, in the repeated use of "x's" in hands and eyes. The work of the American designer and artist popularly known as Kaws, includes the repeated use of a cast of figurative characters and motifs, some of which date back to the beginning of his career in the 1990s, initially painted in 2D and later realized in 3D. Some of his characters are his own creations, while others are modified versions of existing icons.Kaws' sculptures range in size from a few centimeters to ten meters tall, and are made of various materials including fiberglass, aluminum, wood, bronze and an inflatable steel pontoon raft. His work is exhibited in galleries and museums, realized in permanent collections in public institutions, and avidly collected by individuals, including music producer Swizz Beatz and rapper Pharrell Williams. Several books illustrating his work have been published. He lives and works in Brooklyn, New York, creating sculptures, acrylic paintings on canvas and silkscreen prints, while also collaborating commercially, predominantly on limited edition toys, but also on clothing, skateboards and other products.

Estim. 2 400 - 2 600 EUR

Lot 28 - JOAN JOSEP THARRATS VIDAL (Girona, 1918 - Barcelona, 2001). Untitled, 1993 Mixed media and collage on paper. Signed and dated in the lower margin. Measurements: 50 x 35 cm; 81,5 x 66,5 cm (frame). In this painting with collage on paper made by Tharrats in the nineties, towards the end of his life, we can contemplate the consolidation of a language of informalist roots, which on this occasion stages the symbolic struggle between energy fields materialized in the form of chaotic strokes of calligraphic echoes and gestural impulses. After beginning his training in Béziers (France), in 1935 Tharrats returns to Barcelona and enters the Massana School. He began his artistic activity after the Civil War, in a style that evolved from a certain initial impressionism towards a progressive abstraction, through the influences of Mondrian and Kandinsky. Co-founder of Dau al Set together with Brossa, Ponç, Cuixart and Tàpies, Tharrats made his individual debut in 1949, at the El Jardín galleries in Barcelona. From 1954 he exhibited regularly at the Sala Gaspar in Barcelona, as well as in 1955 in Stockholm and New York, in 1959 at the Biennial of São Paulo, and in Venice at the Biennials of 1960 and 1964. In 1955, after the dissolution of Dau al Set, he participated in the constitution of the Taüll group together with Muxart, Guinovart and his former colleagues Cuixart and Tàpies. Eleven years later, in 1966, he was also a founder of the Association of Contemporary Artists. A pioneer of post-war Catalan avant-gardism, Tharrats evolved from the surrealist-influenced linear abstraction of his Dau al Set period to a richly textured, colorful, free-form informalism. Apart from easel painting, he developed his own version of printmaking techniques ("maculaturas"), and also made posters, book illustrations, murals, stained glass, mosaics, jewelry and opera scenographies. In 1983 he was awarded the Cross of Sant Jordi, and in 1994 the National Prize of Plastic Arts. That same year he joined the Royal Academy of Fine Arts of San Jordi. His work is present in various museums and collections around the world, such as the MoMA and the Guggenheim in New York, the Tate Gallery in London, the MACBA or the Reina Sofia Museum in Madrid.

Estim. 2 800 - 3 000 EUR

Lot 32 - CHEN YIFEI (Ningbo, China 1946 - Shanghai, China 2005) "Bridge of peace", 1985. Lithograph on Arches paper. Copy 312/1000. Attached certificate of authenticity issued by World Federation of United Nations in 1985. With dry stamps of Emiliano Sorini Studio of New York and World Federation of United Nations. Framed in museum glass. Signed and numbered. Measurements: 28,5 x 21,7 cm. Chen Yifei is one of the most recognized oil painters in China and with greater impact in the West. With a versatile personality, he is also known for his work as a film director, businessman, designer and decorator. He began his artistic studies in Shanghai in 1965, where he stood out by focusing his attention on oil painting in a country marked by the tradition of Chinese ink painting. The quality of his brushstroke will make him one of the most famous artists of the Cultural Revolution (although he could not avoid some small mishaps); he painted portraits glorifying Mao Zedong and large revolutionary canvases. He was one of the first artists authorized by the communist government to travel to the United States, where he lived from 1980-1990. It was there that he made his fortune and refined the quality of his style. In 1990 he returned to Shanghai, the city where he spent the rest of his life, influenced by his training in Soviet art and focused on the revolutionary themes that enveloped his environment, his brushwork evolved into more romantic themes, genre scenes, a realistic iconography with a melancholic air and modern details. His most characteristic scenes usually show Chinese women performing everyday actions, dressed in traditional costumes with a multitude of details and dense colors that stand out against dark and neutral backgrounds. Certificate of authenticity issued by the World Federation of United Nations in 1985. Framed in museum glass.

Estim. 800 - 900 EUR

Lot 33 - MANOLO VALDÉS (Valencia, 1942). "Matisse as a pretext", 2001. Silkscreen on canvas. Exemplary H.C II/III. The authenticity of this lot has been verified by the studio of Manolo Valdés. Signed and dated in the lower central area. Justified in the lower right corner. Measurements: 148 x 122 cm. This work is a clear example of Valdés' response to the master Matisse, rescuing his odalisques and wrapping them in a pop aesthetic. As usual in his production, Valdés resorts to the work of a great master as a starting point to create a new image that, in its complete originality and contemporaneity, urges us to rethink the legacy of art history itself. In an interview the artist gave to the ABC newspaper in 2016, Valdés pointed out his artistic connection with Matisse, and his interest in the interpretation of his work. In addition, this same year he exhibited at the Marlborough Fine Art gallery in London, the show titled "Recent Work. Paintings and sculptures", was a selection of eleven works that paid tribute to the artistic work of Henri Matisse. In fact, when the Valencian painter was interviewed in reference to this exhibition, Valdés replied "I answer to his paintings with other paintings". Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan, the silver medal of the II International Biennial of Engravings of Tokyo, the award of the Bridgestone Art Museum in Lisbon, the National Prize of Plastic Arts, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andres Bello in Venezuela, the award of the National Council of Monaco, the Gold Medal of Merit in Fine Arts, the Award of the Spanish Association of Art Critics and the Best Printmaking Artist Award, among others. Formally, Valdés creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images of the history of art. He is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others. The authenticity of this lot has been verified by the Manolo Valdés studio.

Estim. 15 000 - 18 000 EUR

Lot 34 - EUDALD SERRA GÜELL (Barcelona, 1911-2002). Untitled. 1961 Stoneware sculpture. Exemplary 1/5. Marble base. Signed and numbered Measurements: 60 x 30 x 7 cm. In the fifties and sixties, Eudald Serra cultivated a non-figurative sculpture of organic nature, with curved surfaces and profusion of voids. The 1961 piece we show here belongs to that period, especially fruitful for this author. This stoneware sculpture is endowed with a great power of suggestion. It is inspired by prehistoric effigies and the ethnic sculpture of ancestral cultures, while dialoguing with artists of the modern movement such as Brancusi and Jean Arp. Sculptor and painter, Eudald Serra began his training as a disciple of Angel Ferrant, combining his studies at the Schools of La Llotja and Fine Arts in Barcelona. During his student days he also worked in a jewelry workshop and in a shipping company, which is perhaps the root of his passion for travel, which led him on his first tour of Europe in 1932. He made his individual debut in 1934, in the Busquets hall in Barcelona, and worked together with the ADLAN group. In 1935 he made a study trip to Japan, becoming fascinated by the local culture to the point of settling in the city of Kobe, where he lived for several years. During this period he devoted himself mainly to ceramics, holding exhibitions in Tokyo, Osaka and Kobe. In 1939 he won the prize at the Hyogo exhibition and, after a brief stay in the United States, he returned to Spain in 1948. Between the late fifties and early sixties he traveled extensively in Southeast Asia and the Middle East, and during the eighties he visited Central America, Australia, China and Morocco. His awards include the Grand Prize at the Alexandria Biennial, the Madrid Provincial Council Prize at the Hispano-American Biennial, the National Sculpture Prize and the Barcelona Jazz Salon Prize, among others. He was part of the Altamira group, and was a professor at the Massana School and the Fine Arts School of Barcelona. He is currently represented at the Centro Nacional de Arte Reina Sofía, the MACBA in Barcelona and the Museum of Alexandria, among others.

Estim. 7 000 - 7 500 EUR

Lot 38 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "U no es ningú". Lithograph, copy XII/LXXXII. Signed and numbered in pencil. Tàpies Galfetti III, p. 37, fig. 723. Measurements: 56 x 73 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 000 - 1 100 EUR

Lot 39 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Composition", 1976. Lithograph on Guarro paper, H.C. copy. Signed and justified by hand. Polygraph edition. Tàpies Galfetti II, p. 208, fig. 636. Measurements: 56 x 76 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 000 - 1 100 EUR

Lot 40 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Étude pour l'Homme au Mouton, 1967. Lithograph on Arches paper. Signed in green stamp. Edition of 200 copies on a single sheet. Deluxe edition apart from those published for the series "La Flute Double". Catalog Raissonné "Modern illustrated books", reference 8860. Measurements: 96,7 x 41 cm. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition in the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 1 000 - 1 100 EUR

Lot 41 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Suite Berlin", 1974. Lithograph on Arches paper, copy 144/150. Signed and numbered in pencil. Tàpies Galfetti II, p. 105, fig. 476. Measurements: 56 x 76 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the Grand Prix de Painting of France, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 200 - 1 500 EUR

Lot 42 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "70", 1979. Etching, aquatint, carborundum and embossed relief engraving on Guarro paper, copy 10/75. Signed and numbered in pencil. Tàpies Galfetti III, pag. 31, fig. 714 Measurements: 19 x 20,5 cm (plate); 56 x 73 cm (paper). Antoni Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the Grand Prix de Painting of France, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Estim. 1 200 - 1 500 EUR

Lot 43 - ALBERTO KORDA (Havana, 1928- 2001). "Che Guevara", c.1960. Photograph, original negative. Signed and dedicated in the upper left part. Measurements: 30 x 21 cm. Korda, whose real name was Alberto Díaz Gutiérrez, had his first contact with photography when he took his father's 35 mm Kodak and began taking pictures of his girlfriend. Korda began his career as a photographer, initially shooting banquets, baptisms and weddings. The quality of Korda's work as a beginner was very poor and his photos deteriorated quickly. In 1953, Korda opened his first studio with a photographer named Luis Pierce. Initially, Korda and Pierce did a variety of work ranging from fashion to advertising. However, by opening his first studio, Korda had the opportunity to learn from his mistakes and stop the process by using the right chemicals. Most of the work was photographed by his studio partner in order to keep his business going. It was the money generated from these jobs that allowed Korda to develop his unique style of looking at an image from another angle, different from traditional studio photographers. It was this style that defined and popularized the photographs made at Korda Studios. In the early years, Korda was more interested in fashion and became Cuba's leading fashion photographer. Korda disliked artificial lighting, saying it was "a parody of reality" and only used natural light in his studio. He was the master of black and white photography, with his work he sought the perfect composition and framing. Korda had a unique creative ambition that often surpassed in style compared to the unimaginative cultural perspective of traditional Cuban photography. This unique creativity turned Korda Studio into more than just a thriving business; it became an art studio.

Estim. 4 000 - 4 500 EUR

Lot 44 - ZAO WOU-KI (Beijing, 1921 - Nyon, Switzerland, 2013). "Zoo-4," 1986. Aquatint etching, copy H.C. 4/15. Signed and justified by hand. Measurements: 40.5 x 56 cm (print); 48 x 63 cm (paper); 70 x 86 cm (frame). Even in engravings, Zao Wou-Ki works with large masses of satin color that implode configuring germinal big bangs, sublime and primordial landscapes as in this occasion. Zao Wou Ki was born into a Franco-Chinese family and grew up in a very cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Faculty of Fine Arts in Hangzhou between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. It is Michaux who writes the catalog presentation for his first New York exhibition, at the Cadly-Birch Gallery.

Estim. 4 000 - 5 000 EUR

Lot 45 - LUIS FEITO (Madrid, 1929-2021). "Composition. Lithography. Exemplary 42/99. Signed and justified in pencil. Measurements: 76 x 57 cm; 93 x 73 cm (frame). Luís Feito, born and formed in Madrid, was one of the founding members of the group El Paso. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the current avant-garde movements. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most relevant artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world.

Estim. 500 - 600 EUR

Lot 47 - MAX NEUMANN (Saarbrücken, Germany, 1949) Untitled, 1990 Oil on paper adhered to canvas. Signed and dated in the lower right corner. With label of the Maeght gallery in Barcelona. Measurements: 220 x 180 cm. The work that we show immerses us in a dark atmosphere, which suggests a latent violence. Max Neumann developed a personal style of great forcefulness. He is an artist already installed in his own universe, which slips between abstraction and an enigmatic figuration. The German painter Max Neumann has participated in numerous solo exhibitions in German and foreign galleries, as well as exhibitions at the Saarland Museum, Saarbrücken, and the Folkwang Museum, Essen, two of the most renowned German museums of contemporary art, which shows that Max Neumann is a recognized artist whose work is represented in major institutional, public and private collections around the world. He currently lives in Berlin. He trained from 1969 to 1977 at the art schools of Saarbrucken, Karlsruhe, Berlin. Selected solo exhibitions: 2015 -Gallery Bruce Silverstein, New York 2014 Galerie Thomas Levy, Hambourg Galerie Xenon, Bordeaux Galerie Vidal-Saint Phalle, Paris 2013- Galerie Stefan Röpke, Cologne? Mimmo Scognamiglio artecontemporanea, Milan. Galerie Clairefontaine, Luxembourg 2012 -Galerie Vidal-Saint Phalle, Paris Bruce Silverstein Gallery, New York 2011-Levy, Hamburg 2010- Fondation Antonio Pérez, Centro de Arte Contemporáneo, Cuenca. Museo de Obra Gráfica, San Clemente, Cuenca Galerie Vidal-Saint Phalle, Paris. AUP Fine Arts Gallery, The American University of Paris. Galerie Arnes and Röpke, Madrid. Galerie Stefan Röpke, Köln. Kunstverein Niebüll, Richard-Haizmann-Museum, Niebüll 2009 -Villa Wessel, Iserlohn. Centre Cultural Contemporani Pelaires, Palma de Mallorca Ronchini Arte Contemporanea, Terni. Freie Akademie der Künste in Hamburg 2008-Galerie Stefan Röpke, Cologne.

Estim. 7 000 - 8 000 EUR

Lot 48 - MANUEL MARÍN (Cieza, Murcia, 1942 - Málaga, 2007). "Mobile ceiling sculpture. Polychrome steel. Attached certificate of authenticity issued by Mrs. Mónika Rabassa, widow of the artist. Signed on the base. Measurements: 167 x 225 x 0,5 cm. Mobile sculpture made of metal, in which the artist has polychromed in different tones of a primary chromatic range. The artist has used different tones of a primary chromatic range. This brings the design closer to a neoplasticist aesthetic in which the use of this range of colors and experimentation in their representation were very common in this aesthetic current. It is worth mentioning the work of Manuel Marín, which demonstrates his clear link with the avant-garde currents, the application and development of them in his own production through a unique and personal language. Manuel Marín started in the world of bullfighting at the age of ten, and made his first bullfight at the age of sixteen. However, at the age of twenty he traveled to London and began working in an art gallery, entering definitively into the world of sculpture. There he met the British artist Henry Moore, who hired him as an assistant in the realization of his bronze sculptures. In 1964 he moved to New York, where he worked as an art restorer until he opened his own gallery, The American Indian Art Gallery, which counted among its clients Warhol, Basquiat, De Kooning, Keith Haring and others. Attracted to mobile sculptures, he began creating his own works in 1969, and the following year held his first exhibition at the Alan Brown Gallery in Scardele, New York. Since then he has shown his work in various New York venues, as well as in Canada, Italy, Mexico, China, Puerto Rico, Japan and Spain. He currently has public monuments in various parts of the United States and Spain, and is represented in Spanish and foreign collections, having achieved critical and public recognition for his artistic production.

Estim. 9 000 - 10 000 EUR

Lot 51 - LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000). "On all fours", 1986. Oil on canvas. With Dau al Set Gallery label on the back. Signed and dated in the upper right corner. Measurements: 145x 180 cm. Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in his beginnings, which will gradually disappear until transforming into a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

Estim. 3 500 - 4 000 EUR

Lot 58 - TERÁN (Chile, 1974). "Tribute to Banksy", Tribute to Genius Series, 2022. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 60 x 60 cm. In the catalog of the exhibition "Tribute to the Geniuses", it is pointed out that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as that of the Royal Academy of Fine Arts of Chile.

Estim. 800 - 1 000 EUR

Lot 59 - TERÁN (Chile, 1974). "Tribute to Warhol", Tribute to Genius Series, 2022. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 60 x 60 cm. In the catalog of the exhibition "Tribute to the Geniuses", it is pointed out that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 800 - 1 000 EUR

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

Estim. 800 - 1 000 EUR

Lot 61 - CHRIS OFILI (Manchester, 1968). Untitled, 1997. Watercolour and pencil on paper. Signed and dated on the back of the drawing. Size: 24 x 15.5 cm; 40 x 30 cm (frame). Chris Ofili creates intricate, kaleidoscopic paintings and works on paper fusing abstraction and figuration. Ofili rose to fame in the 1990s for his complex and playful paintings, embellished with a distinctive mix of resin, glitter and collage. His vibrant, symbolic and often mysterious works are based on the lush landscapes and local traditions of the island of Trinidad, where he has lived since 2005. Employing a diverse range of aesthetic and cultural sources, including Zimbabwean cave paintings, blaxploitation genre films, Ovid's Metamorphoses and modernist painting. Ofili's work investigates the intersection of desire, identity and representation. Born in 1968 in Manchester, England, Ofili received his BFA from Chelsea School of Art, London in 1991 and his MFA from the Royal College of Art, London in 1993. In 2005, the artist joined David Zwirner, where he has had four solo exhibitions at the New York gallery. The Institute of Contemporary Art Miami, for the opening of its new building, commissioned Ofili's work for a long-term installation, which was on view from 2017 to 2019. In 2017, the National Gallery in London presented "Chris Ofili: Weaving Magic", which marked the first time the artist worked in the medium of tapestry. That same year, Ofili created a site-specific artwork, incorporating a mural, for Marisol, the newly redesigned restaurant at the Museum of Contemporary Art Chicago. In 2015, a group of Ofili's paintings were included in "All The World's Futures", the 56th International Art Exhibition of the Venice Biennale, curated by Okwui Enwezor. The artist's work has been the subject of solo exhibitions around the world, including "Chris Ofili: Night and Day", the first major solo exhibition of the artist's work in a museum in the United States. The show was organised by the New Museum in New York, where it was first presented in 2014, and travelled to the Aspen Art Museum in Colorado in 2015. Other monographic exhibitions have taken place at the Arts Club of Chicago (2010); Tate Britain, London (2010 and 2005); kestnergesellschaft, Hannover (2006); The Studio Museum in Harlem, New York (2005); and the British Pavilion, 50th Venice Biennale, Venice (2003). In 2017, Ofili was awarded the title of Commander of the Most Excellent Order of the British Empire (CBE) by the Queen, and in 1998 he received the prestigious Turner Prize. The artist's works are represented in leading international collections, including the British Museum, London; Carnegie Museum of Art, Pittsburgh, Pennsylvania; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Tate Gallery, London; Victoria and Albert Museum, London; and the Walker Art Center, Minneapolis, Minnesota.

Estim. 9 000 - 10 000 EUR

Lot 63 - SAM FRANCIS (San Mateo, California, 1923 - Santa Monica, California 1994). Untitled, 1984 (SFF.1099 aka SFP84-46). Acrylic on canvas. Signed on verso in cursive by the artist: 'Sam Francis' with inscriptions 'SFP84-45' in blue marker and 1984 in grey pencil. Provenance: -Nantenshi Gallery, Tokyo (1985). -Private collection, Japan. Attached certificate of authenticity issued by the Sam Francis Foundation. Listed in the catalogue raisonné under no. SFF. 1099. Measurements: 5,08 x 7,62 cm; 33 x 40 cm (frame). In this canvas, San Francis presents us with a composition devoted to the study of rhythm and the linear decomposition of abstract forms. Styles such as Neo-Plasticism and Constructivism have been assimilated in a personal way; however, the Californian goes further and breaks with this idea of pure lines, leaving spaces to chance and to the expressiveness of the pictorial material itself, as can be seen in the spilled drops of paint. San Francis studied botany, medicine and psychology at Berkeley University in California between 1941 and 1943, and served in the United States Air Force during the Second World War from 1943 to 1945 before being injured in a plane crash. He spent several years in hospital, and it was during this time that he began to paint, at the urging of his friend David Parks, a professor at the San Francisco School of Fine Arts. Once out of hospital he returned to Berkeley, this time to study art. His studies in painting and art history took him from 1948 to 1950. Francis' early work is directly influenced by the Abstract Expressionists such as Rothko, Gorky and Still. During the 1950s he lived in Paris, where he held his first solo exhibition in 1952 at the Galerie Nida Dausset. During the fifties and sixties he held important solo exhibitions and participated in group shows at the Ribe Droite (Paris, 1955), Martha Jackson (New York, 1956), Gimpel Fils (London, 1957), the exhibition "New American Painting", which toured eight European cities (1958), the Documenta in Kassel (1959 and 1964) and the Kunsthalle in Bern and Düsseldorf. In 1963 he settled in Santa Monica, California, and six years later he was awarded an honorary doctorate by the University of Berkeley. It was during this period, between 1960 and 1963, that he created several series of works, including the "Blue Balls" series. Consisting of predominantly biomorphic blue shapes and drops, these works referenced the pain resulting from the kidney tuberculosis he suffered in 1961. He continued to paint, mainly in Los Angeles, but also in Tokyo, where he lived mainly in 1973-4. In 1965 Francis began a series of paintings featuring large areas of open canvas, minimal colour and strong lines. His work evolved further after he began an intensive Jungian analysis with Dr. James Kirsch in 1971. It was then that he began to pay close attention to his dreams and the unconscious images they suggested, Francis' works from the early 1970s have been called fresh air images. Created by adding pools, drips and splashes of colour to wet bands of paint applied with a roller, these works reaffirmed the artist's interest in colour. By 1973-4, many of Francis's paintings featured a formal grid or matrix composed of cross-hatched traces of colour. Many of these matrix works were large in scale, measuring up to twenty feet in length. After 1980, the formal grid structure gradually disappeared from Francis's work. He was extremely active as a printmaker, creating numerous etchings, lithographs and monotypes, many of which were executed in Santa Monica at Francis' own Litho Shop. In 1984 Francis founded The Lapis Press with the aim of producing unusual and timely texts in visually appealing formats.

Estim. 10 000 - 12 000 EUR

Lot 66 - VICTOR MIRA (Zaragoza, 1949 - Munich, 2003). "Bachcantata". 1992 Acrylic on cardboard. Signed in the lower left corner. Enclosed certificate of authenticity issued by Esther Romero Fajardo. Measurements: 54 x 53 cm; 74 x 74 cm (frame) Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

Estim. 1 400 - 1 500 EUR

Lot 68 - RON ENGLISH (Chicago, 1959) for Made by Monsters Toys. "Mouse Mask Murphy". Limited edition, copy 63/300. Vinyl. With publisher's stamps and numbered. With original box. Produced by Made by Monsters Toys. In good condition. Measurements: 22 cm (height); 26 x 28.5 x 14.5 cm (box). Ron English x Made by Monsters JPS released this "Bondage Shaved Mouse Mask Murphy" chained to one of English's signature designs, the "Bondage Smiley Grin". Ron English's Art Toys are a mix between pop art and propaganda that follows the concept of "Culture Jamming", which can be translated as cultural sabotage or diversion, in which he incorporates iconography derived from superhero comics, art history, advertising or politics. English thus plays with the iconography of multinationals, popular culture or art history, such as Joe Camel, McDonalds, Vincent vanGogh or Mickey Mouse, versioning and satirizing them to symbolize the opposite of the values they represent. English's name has appeared in the most important magazines in the world (The New York Times, The Wall Street Journal, USA Today, The Miami Herald, The Washington Post, The Los Angeles Times, LA Weekly, Art News, Time Magazine, Rolling Stone, Creem, Juxtapoz Magazine, Hi Fructosa, Mad Magazine, among others). His film and television appearances include Exit Through the Gift Shop, Supersize Me, The Simpsons, Work of Art, Street Art Throwdown, CNN, BBC, Sky TV and many others. In addition to his art practices and murals, English has produced album covers for musicians such as Dandy Warhols and Slash, art for the documentary Super Size Me and various Art Toys. In good condition.

Estim. 800 - 900 EUR

Lot 69 - "KAWS", BRIAN DONNELLY (New Jersey, 1974) for Medicom Toy China. "Companion Five Years Later", 2004. PVC painted in black. Signed on the soles of the feet. Produced by Medicom Toy China. With original box. In good condition. Measurements: 38 cm (height); 43 x 22 x 15 mm (box). Within the wide range of Kaws' designs, the "Companions" stand out, figures inspired by the Mickey Mouse character, an icon that the artist knows well since he started his career in the Disney studios working as an animator. His Companions also wear white gloves and the mouse's shoes, but instead of eyes they have two crosses. His iconography based on popular culture has not only focused on the figure of Mickey, but there are Companions based on Star Wars, SpongeBob SquarePants or Sesame Street characters. American artist and designer Kaws stands out for his distinctive work spanning several decades. His repertoire of characters and figurative motifs, some created by himself and others reinterpreted from existing icons, has left a unique mark on the contemporary art world. Kaws' sculptures exhibit an impressive diversity, ranging from diminutive dimensions to towering ten meters in height. Made from materials including fiberglass, aluminum, wood, bronze and even an ingenious inflatable steel pontoon raft, his creations are a fusion of technical innovation and artistic expression. Kaws' work has earned a place in galleries and museums, as well as in permanent collections of public institutions. It has also captured the attention of passionate collectors, including music producer Swizz Beatz and renowned rapper Pharrell Williams. Numerous books have been published to illustrate and analyze his powerful work. Based in Brooklyn, New York, Kaws not only creates sculptures, but also explores other art forms such as acrylic paintings on canvas and silkscreen prints. His influence extends into the commercial realm, where he has predominantly collaborated in the production of limited edition toys, as well as in the design of clothing, skateboards and other products. Kaws' distinctive style is characterized by a vibrant emphasis on color and line, as well as iconic graphics, such as the repeated inclusion of the "x" in the hands and eyes. His work is also notable for the clever reappropriation of pop culture icons, such as Mickey Mouse, the Michelin Man, the Smurfs, Snoopy and SpongeBob SquarePants. In good condition.

Estim. 6 000 - 7 000 EUR

Lot 71 - ROBERT INDIANA (New Castle, Indiana, USA, 1938 - Vinalhaven, Maine, USA, 2018). LOVE series . 100% handmade Indian wool tapestry. Numbered copies. With certificate signed in plate and hand numbered on the back. Measurements: 60 x 60 cm (the small ones), 78 x 78 cm (large). All "LOVE" rugs of unlimited edition are handmade in the city of Varasani. During the production process they practice respect for the environment and their workers, and do not use child labor. The manufacture of these rugs requires tremendous craftsmanship, as each rug is made from start to finish by a single artisan. Robert Indiana is one of the preeminent figures in the American art scene since the 1960s, being the leader in the development of the assemblage technique, and the Hard Edge, and American Pop Art movements. Indiana studied at the Art Institute of Chicago, the Skowhegan School of Painting and Sculpture, and also at the Edinburgh School of Art. Aside from being a painter, Robert Indiana has been a theatrical and costume set and costume designer, in productions such as Santa Fe Opera's The Mother of Us All, and acted in the film Eat directed by Andy Warhol. He proclaimed himself as "the American painter of signs" and throughout his long career he explored, and at the same time constructed, the American identity through diverse iconography. His particular visual language, which could be defined as 'lyricism', marked by slogans such as HUG, EAT and the famous "LOVE". It has become the emblem that continues to unite many artistic generations and is now part of the collective unconscious worldwide. The iconic LOVE series, recognized by LO and VE stacked one on top of the other and arranged in a square, and to which our piece belongs, was first used in a set of poems written in 1958. Then, in the summer of 1965, MoMA commissioned Indiana to design Christmas cards, ultimately approving this red, blue and green design. Its true semantic translation is deeply linked to Christianity and the artist's childhood, educated according to the Church of Christ, Scientist. In an epistolary with collector Larry Aldrich, Indiana shares that there was a phrase 'God is Love' written by the founder of this church, Mary Baker Eddy, which was an unofficial motto of Scientist Christianity. From this was born the idea of higher love that Indiana ultimately wanted to convey through all of his work from the 1960s until his death. In 2008 Indiana created a very similar image for Barack Obama's presidential campaign, in which this symbol was used for various propaganda items. Robert Indiana had hundreds of solo and group exhibitions worldwide. Particularly in Spain he exhibited three times, in 1992 at the Galería 57, in 2009 at the Galería Barcelona, and finally in 2012 at the Museo de Pasión in Valladolid. With certificate signed in plate and hand numbered on the back.

Estim. 2 000 - 2 200 EUR

Lot 72 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). "The Ten Commandments", 1975. Collection of 10 silver medals and methacrylate case with printed signature. Signed by the artist. Measurements: 5 cm diameter each medal. Collection composed of ten coins that symbolize the 10 commandments. Exemplifying some of the coins, the one corresponding to the tenth commandment (Thou shalt not covet the goods of others) shows a palace of monumental proportions, in which the construction and decoration are testimony of great wealth, and a knight entering the magnificent halls of the palace. On the right is a precarious and sluggish hut, protecting a poor man; corresponding to the ninth commandment (Thou shalt not covet thy neighbor's wife) on the coin the desired symbolic meaning is reached by the inversion of an image which, seen from right to left, represents the piety due to a slave with his hands tied behind his back. Viewed in reverse, from left to right, the image changes meaning. What was piety is transformed into a desire for erotic concupiscence, since in this way what was previously the head of the figure becomes the back part. 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. 1 000 - 1 200 EUR

Lot 73 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). "Madonne au serpent", 1966. Gilded plaster. The edition is formed, on the one hand, by three pieces in plaster that were given to three Catalan restaurants in Barcelona, Tarragona and Figueres; on the other hand, by some other copies in the same material that were made for friends and relatives of Joan Duran, creator of the frame that surrounds the sculpture (being this last group to which the work in bidding belongs). A last copy in gilded bronze is also part of the edition. Signed and dated in the lower left corner. Frame made by Joan Durán. Catalogued in: "Le dur et le mou", Eccart, R&N Descharnes, p. 204, fig. 496. Measurements: 49.5 x 33 x 6.5 cm (plaster); 62.7 x 46.5 x 12.5 cm (frame). Typically Dalinian elements decorate the frame of this relief of the Immaculate Conception: a set of snails, alluding to the surrealist master's meeting with Sigmund Freud, are flanked by two eggs symbolizing fertility, a motif repeated many times in Dalí's repertoire, which even decorates the roof of the Salvador Dalí Museum in Figueras, During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. The painter landed in America in 1934, thanks to art dealer Julian Levy. As a result of his first individual exhibition in New York, his international projection was definitively consolidated, and since then he has been showing his work and giving lectures all over the world. Most of his production is gathered in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London.

Estim. 10 000 - 12 000 EUR

Lot 74 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "In Jaumet Pirouli", 1962. Bronze, copy P.A. Signed and justified in the lower margin. With stamp of the Parellada Foundry. Measurements: 17 x 8 cm; 32 x 8 cm (with stand). The playful title of this bronze relief by Clavé imbues the bronze with a certain ironic tone, in which the artist has represented faces that emerge from the material, expressive and inspired by primitive effigies. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Trained at the Escuela de Bellas Artes de San Jordi in Barcelona, Clavé was initially dedicated to advertising graphics, illustration and decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Estim. 1 500 - 1 800 EUR

Lot 75 - JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). "Still life", 1969. Oil on canvas. With Sala Gaspar label on the back. Measurements: 46 x 55,5 cm; 48 x 57 cm (frame). In this work Hernández Pijuan takes the classic genre of the still life and gives it an apparently figurative treatment. However, he essentializes the theme and spiritualizes it, giving it a metaphysical cadence. The two eggs seem to float in the void, despite the shelf on which they sit, slightly darker in color than the background. Pijuan echoes here the symbolic charge of baroque still lifes. The eggs could represent the cycle of life and death. Because of their fragility they are a metaphor for the fragility of life. They also symbolize perfection, but also the duality of human nature. The painting could also be seen as a commentary on the nature of art and its power. This work can be related to "Espai marró amb ou" (1970) from the Reina Sofía Museum Collection. Joan Hernández Pijuan began his training in Barcelona, attending the Schools of La Lonja and Fine Arts of Sant Jordi, and then completed his training at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a singular position among the Spanish artists of the last decades. The strength of his creative individuality places him at the margin of the successive dominant trends and fashions, but does not prevent us from recognizing in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practicing a tragic expressionism of great social charge, and in these times he formed, together with the rest of the members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting a geometric figuration, a style that he left behind in the following decade to focus on informalism. In fact, the interest and fascination for the career of this painter continues more than ever, and is the subject of new exhibitions and public displays of his work. During his lifetime he exhibited individually in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 an important retrospective exhibition was dedicated to him at the MACBA in Barcelona, which was later shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museum of Spanish Abstract Art in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed academician of the Real Academia de San Fernando in Madrid. In 1981 he received the National Prize for Plastic Arts, in 1985 the Sant Jordi Cross and, in 2004, the City of Barcelona Award. He was also awarded the Prize of the General Directorate of Fine Arts at the National Exhibition of Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Biennial of Engraving in Ljubljana (1965), the International Biennial of Engraving in Krakow (1966) and the prize of the editorial office "Vijesnik u Srijedu" in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centers such as the Guggenheim Museum in New York, the Liaunig (Austria), those of Contemporary Art of Helsinki and Luxembourg, the Kulturstiftung of Bad Homburg (Austria), the Yamaguchi Gallery of Osaka (Japan), the Palace of Fine Arts of Brussels, the National Gallery of Montreal, the Museum of Modern Art of Buenos Aires and the Sztuki Museum of Lodz (Poland).

Estim. 6 000 - 7 000 EUR

Lot 76 - EDUARDO ARRANZ BRAVO (Barcelona, 1941-2023). "Susa II", 2006. Oil on canvas. Signed and dated in the lower right corner. Signed, dated, located and titled on the back. Measurements: 61 x 46 cm; 63,5 x 47,5 cm (frame). On this occasion, Arranz Bravo subordinates to abstraction the representation of a humanoid figure whose metallic-colored body with forms between mechanical and organic suggests a certain metaphysical ambivalence. Arranz Bravo was a total artist, theoretician and executor, key in the development of the Catalan and Spanish avant-garde of the second half of the 20th century. His work and his personality are part of the history of struggle and rupture of Spanish artists during the last decades of Franco's regime. Arranz Bravo was a spearhead in this opening, in this rejection of traditionalist Manichaeism that led to the complete renovation of Spanish art and placed it once again in the European avant-garde. Eduardo Arranz Bravo trained at the School of Fine Arts of Sant Jordi, in Barcelona, between 1959 and 1962. He made his individual debut in 1961, at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was the one organized by the Ateneo of Barcelona in 1961. Between 1968 and 1970 he was part of the group formed by Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint exhibitions with individual ones. The contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has had exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art of São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His awards include the II International Biennial of Sport, the figure award of the Biennial Estrada Saladich, and the Ynglada-Guillot drawing award. His work can be found in the Reina Sofia Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.

Estim. 1 400 - 1 600 EUR

Lot 77 - XAVIER MEDINA CAMPENY (Barcelona, 1943). "Venus of Brooklyn. Model based on the monumental sculpture of 1971. Bronze sculpture. Signed and justified, copy A.P. Measurements: 88 x 25,5 x 25,5 cm. From the 70's, years in which the human body was assuming the most absolute protagonism, the work of Xavier Medina Campeny speaks to us of the dualism between the geometric and the organic (the conceptual and the natural) and the revision of the classic art and of the vanguards. Xavier Medina Campeny, grandson of the sculptor Josep Campeny and great-grandson of Damià Campeny, is a self-taught sculptor, who made his artistic mood evolve towards a very personal style. He began studying architecture in Barcelona, but abandoned his studies to start in the world of sculpture. It was during this period that he dedicated himself to this art, with a self-taught training. His long artistic career as a sculptor has led him to work with various techniques and materials. As for his first exhibition, he made it in 1964. After ten years he moved to New York, where he created most of his artistic production. After a few years he returned to Spain to stay. His style is closely related to the avant-garde, more specifically with Dadaism. His mastery of drawing has also helped him to relate organic elements with geometric forms. During the years 1975 to 1989, he developed a plastic language of the human body, being a mixture of the anatomical with geometry, which he himself called "fragmentations". At the time of making these bodies, Medina crumbles, divides and geometrizes the parts of the human body to later rejoin them, in order to highlight some parts that he leaves empty. The work Conversación (1979) reflects and tells us about the contrast between the absent and the present. On the other hand, the work The mirror in Atlantic Ocean, balances the form with the background and works the body without fragmenting it. Medina's work can be related to surrealist proposals. For example, in the group Mimetismo animal (Animal mimicry), human attitudes with ironic expressions can be seen in the animals. Since 2003 there has been a change in the artist's style with respect to the human body, in which he simplifies the forms and transforms them into elongated cylinders that for him are "pieces" with a symbolic meaning. Medina and Campeny's works have been exhibited both in Europe and America, where he has several works in museums and important institutions, such as: Museo Nacional de Arte Reina Sofia in Madrid, MACBA in Barcelona, Pagani Foundation in Legnano, Italy, Everson Museum in Syracuse (USA), Jimmy Carter Library & Museum in Atlanta, Georgia (USA), Bears Foundation in New York (USA), North Carolina Museum of Art (USA), among others.

Estim. 1 500 - 1 600 EUR

Lot 82 - TERÁN (Chile, 1974). "Tribute to the geniuses: Kusama and Velázquez", 2022. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 30 x 30 cm; 35.5 x 35.5 cm (frame). In the catalog of the exhibition "Tribute to the Geniuses", it is pointed out that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 400 - 500 EUR

Lot 83 - TERÁN (Chile, 1974). "Tribute to the geniuses Kusama and Velázquez", 2022. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 30 x 30 cm; 35.5 x 35.5 cm (frame). In the catalog of the exhibition "Tribute to the Geniuses", it is pointed out that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

Estim. 400 - 500 EUR

Lot 85 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). "Winged Triton", ca. 1972. Bronze sculpture on marble base, copy 242/300. Signed and justified at the bottom. Measurements: 22 x 11 x 11 cm. Dalí represented the marine god, son of Poseidon, gliding over the waters, dispensing with the company with which we are accustomed to see him in classical iconography (accompanied by horses and nereids, surrounded by dolphins and playing the conch shell with which he announced storms). Triton possessed the gift of prophecy, so they were often the guides of the great mythological heroes. Dalí focused instead on the character's vulnerability, emphasizing the sensation of instability produced by the waves on the hero's flesh. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. 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. 1 600 - 2 000 EUR

Lot 86 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Soul of Don Quixote. Sculpture in bronze, copy 242/300. Marble base. Signed and justified. Measurements: 33 x 16 x 15 cm. Made with the lost wax technique, the piece presented here shows Don Quixote of La Mancha from a new, dreamlike and phantasmagoric perspective. Although the figure has neither a lance nor a steed, his arm and his moving posture indicate that the Knight Errant is about to perform some of the feats that, in 1605, Miguel de Cervantes wrote, giving rise to the modern novel known to all and which, even today, tops the list of the best literary works in history. Like the written work, Dalí configures a surreal piece in which the artist plays with matter and movement, resulting in a work of fluid and vaporous forms that continue the surrealist style of the Catalan painter. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. 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 "Un perro andaluz" (An Andalusian Dog), which showed scenes from the surrealist imaginary. 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 from then on he would show his work and give 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. 2 000 - 2 500 EUR

Lot 88 - MARCELLO CASTELLANI (Colombia, 1989). "Peonia". 2023. Acrylic on canvas. Certificate of authenticity attached. Measurements: 175 x 140 cm. Marcello Castellani, born in Cali, Colombia, currently based in Berlin. Throughout his artistic career, which began in 2014, he has sought to capture the deep emotions transmitted through human expressions, being the portrait a recurring theme in his work. The source of her inspiration lies in the fusion of two opposing forces: chaos and beauty. This combination is a window into the ongoing exploration of universal duality, inviting viewers to dive into the depths of the human experience. Castellani employs these elements in a symbolic way to highlight the inherent coexistence of light and darkness in our inner being, underlining that both are essential components that complement each other. With a wide range of skills ranging from classical techniques such as painting and drawing, to more avant-garde and experimental ones, including photography, experiments with artificial intelligence and mapping, Castellani bridges the gap between artistic tradition and contemporary possibilities. His artistic prowess has earned him recognition in celebrated art centers, including New York, Berlin, Tokyo, Barcelona, Prague and Brussels, where he has exhibited his unique and stimulating artworks. Selected exhibitions: 2014 - Behance Portfolio Review, Bogotá Chamber of Commerce, Colombia; 2014 - We Art Festival, Transforma BCN - Barcelona; 2014 - MalEntendidos - leun'un Arte Habitación, Monterrey Nuevo León, Mexico; 2013 - Issue # 7 - La Puerta Grande - Bogotá; 2013 - Exposición 4 ángulos - C.C Palatino - Bogotá; 2013 - Imagen palabra, Cuarto salón de ilustración - Universidad Los Libertadores - Bogotá; 2013 - ModusOperandi - Fusionario - Bogotá. Work in publications: 2014 - Peppersoul - Bogota; 2014 - Diners Magazine; 2014 - Indigo Magazine issue # 15. Castellani's portraits relate Giacometti's legacy (the existential drama concentrated in a face) and the overthrow of the ideal of unitary identity inferred from the digital revolution. Castellani expresses the permeability between the inner and the outer self, as well as the play of paradoxes between individual expression and the ballast of the advertising mask, between the public image and the fickle, porous essence of the human condition.

Estim. 8 500 - 9 500 EUR

Lot 89 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Bouteille de vieux marc, verre et "le journal", 1966. From the series Papiers Collés. Lithograph on vélin paper by Rives. Published by Au Pont des Arts, Paris. Signed in plate. Measurements: 64 x 48 cm, 70 x 55 cm (frame). This lithograph belongs to the series 'Papiers Collés' by Picasso, published by Pont des Arts. This series was published in 1966 to commemorate the generous donation of Picasso's collages to the Musée d'Art Moderne in Paris. Pablo Ruiz Picasso is the great genius of contemporary painting. Creator of cubism along with Braque, his capacity for invention and creation places him at the top of world painting. He was born in Malaga, where his father was a professor of drawing and director of the Municipal Museum. The Ruiz Picasso family soon moved to La Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the school's style is totally academic, the painter soon comes into contact with modernist groups that change his form of expression. Only two years later, in 1897, Picasso had his first individual exhibition, in the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all painters are interested in Cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 1 600 - 1 800 EUR

Lot 90 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Seated woman". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated and located on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 91 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Female nude". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated and located on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 92 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Model in the painter's studio". Phototype on paper. Edition of 1200 copies. Dated and localized. Ed. Cahiers d'Art. Paris, 1948. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 93 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). Untitled. Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated and located on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 94 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Female profile". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated and located on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 95 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Cubist figure". Phototype on paper. Edition of 1200 copies. Dated and located on plate. Ed. Cahiers d'Art. Paris, 1948. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of Charente-Maritime and in the New Aquitaine region. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 96 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Cubist female figures". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated and located on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 97 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Female figure". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 98 - PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Seated woman". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated, located and inscribed on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of Charente-Maritime and in the New Aquitaine region. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

Estim. 700 - 750 EUR

Lot 99 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Couple", Saint Tropez 1977. Mixed media and collage on paper. Signed. Measurements: 29 x 20 cm; 37 x 28 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. In this same decade of the fifties is when he began his intense work in the world of ballet and theater, achieving great fame in the world of international scenography. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar award. In 1954, he abandoned set design to devote himself to painting. 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. 1 000 - 1 200 EUR

Lot 100 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). Untitled, 1969. Ink on page of book "Conversations with Dalí". Signed and dated. Accompanied by the book from which the drawing in bidding has been extracted. Measurements: 20 x 13 cm; 50 x 41 (frame). During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. 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 from then on he would show his work and give 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. 2 000 - 2 400 EUR
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