29th July - Iconic Photography & Graphic work

编号 1 - HELMUT NEWTON (Germany, 1920- California, 2004). "Shoe, Monte Carlo, 1983. Gelatin silver. Later print. Signed, titled, dated in pencil and copyright credit stamp on verso. No edition number. Provenance: McCord Collection, New York. Measurements: 36 x 24.6 cm (image); 40 x 31 cm (frame). An ankle subtly cocked and shod in a high heeled shoe occupies the entire photographic plane in this iconic image by Helmut Newton. As a place associated with glamour and luxury, Monte Carlo provides a perfect backdrop for Newton's exploration of fashion and eroticism. The fetishism of high heels and female ankles are explored by the artist in different contexts. In all of them, through daring and carefully crafted compositions, he redefines the parameters of fashion photography and eroticism, the role of women and power relations. Provocation, anti-voyeurism and female empowerment are often attributes of her photos. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

估价 12 000 - 14 000 EUR

编号 2 - STEVE MCCURRY (USA, 1950). "Afghan Girl".Peshawar, Pakistan, 1984. Chromogenic print. Annotation on the back: "Fuji color chrystal Archive Paper". Signed in ink in the margin. Provenance: Cesare Manzo Gallery, Pescara, Italy. Measurements: 45.5 x 30.5 cm (image); 49.8 x 39.5 cm (frame). "The Afghan Girl" is the best known photograph of McCurry's career, and iconic for the history of documentary photography. He took it in 1984, in the Nasir Bagh refugee camp in Pakistan during the Soviet-Afghan war. The girl, Sharbat Gula, was an Afghan refugee who had fled the violence in her country. The girl, with piercing green eyes and wrapped in a red shawl covering her shoulders and hair, captivated viewers around the world. The image appeared on the cover of the June 1985 issue of National Geographic magazine, quickly becoming one of the best known and most powerful photographs of the 20th century. The image became a symbol of the suffering and resilience of refugees and conflict in Afghanistan. It has been widely used to illustrate the plight of refugees around the world. For many years, the identity of the girl in the photograph was a mystery. In 2002, McCurry and a National Geographic team located Sharbat Gula in a remote village in Afghanistan. Her identity was confirmed by recognizing her facial features, especially her eyes. Steve McCurry is an American photojournalist, known worldwide as the author of the photograph "The Afghan Girl," which appeared in National Geographic magazine in 1985. His career as a photographer began with the Afghan War (1978-1992). He has also covered other international conflicts such as the Iraq-Iran war or the Gulf War. After working in King of Prussia, Pennsylvania, for two years, he went to India to work on his own in 1978. After a year there, he traveled to northern Pakistan. His career as a photographer began with his coverage of the Soviet war. In Afghanistan McCurry disguised himself in the country's garb to go unnoticed while working, and took film out of the country by sewing it into his clothes. His images were among the first to depict the conflict and were widely circulated. That work won him the Robert Capa Gold Medal for best foreign photojournalism, and was published in The New York Times, TIME and Paris Match. McCurry continued to cover international conflicts, including the Iran-Iraq war, Beirut, Cambodia, the Philippines, the Gulf War and Afghanistan. He survived a plane crash in Yugoslavia. His work has been published in magazines worldwide, and he is a regular contributor to National Geographic. He has been a member of the Magnum agency since 1986. In his work, McCurry concentrates on the pain caused by war. He tries to show what war does, but not only on the battlefield, but also to the people who live there. He argues that there is always something in common between all humans despite religion, language, ethnicity, etc.

估价 10 000 - 13 000 EUR

编号 3 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). Barcelona series, 1972. Etching, aquatint and carborundum. Copy 'Bon a tiré', 1972. Signed and inscribed in pencil. Inscribed: "Bat. Miró 6/IV/72 - 28/III/72 (6)." Ref. no. 598, p. 231, "Miró Graveur", Vol. II. Measurements: 70 x 105 cm; 87 x 122 cm (frame). Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

估价 6 000 - 8 000 EUR

编号 4 - JEANLOUP SIEFF (Paris, 1933-2000). "Yves Saint Laurent, Paris, 1971. Gelatin silver. Signed and dated in ink (in the margin). With artist's stamp on the reverse. Provenance: private collection O'Hara New York. Measurements: 30 x 31 cm (image); 40,7 x 31 cm (frame). The photograph of Yves Saint Laurent taken by Jeanloup Sieff in Paris (1971) was taken during a period of great creativity in fashion and photography. Yves Saint Laurent was already a prominent figure in the fashion world, known for his revolutionary designs, and Sieff was already a renowned portraitist of great personalities. Jeanloup Sieff was known for his ability to capture the elegance and sensuality of his subjects. His distinctive style includes a masterful use of black and white playing with light and shadow. In this photograph, Sieff uses these techniques to highlight Saint Laurent's figure and character. By showing the designer nude, this image conveys the subject's vulnerability and his stripping of pretense, offering an intimate look at the man behind the fashion icon. Jeanloup Sieff was a French photographer, his work has been recognized for his portraits of show business personalities and politicians, but also for his reportage, landscape and nude photographs. He was born in Paris on November 30, 1933 to parents of Polish origin. His studies after high school were brief: he studied Letters for two weeks, journalism for ten days, photography at the Vaugirard School in France for a month and then in Vevey Switzerland for seven months. His love for photography made him start as an "amateur" photographer at the age of fifteen, gradually raising his photographic quality to debut as a photojournalist in 1954. A year later he joined the magazine Elle, where he first made reports and then fashion photography until he left the magazine in 1959. That year he began working for Réalités and Le Jardin des Modes. He also left the Magnum agency to work on his own. He was awarded the Niépce Prize in 1959 for photographic excellence. In 1961, he settled in New York, where he collaborated with Look, Esquire, and mainly Harper's Bazaar. He had brief stays in Europe where he worked for Twen, Vogue and Queen. In 1967, she decided to move to Paris, where she worked for Vogue, Femme, Nova and other publications. He exhibited nationally and internationally and several of his works were acquired by various museums around the world. In 1971 she received the gold medal of the museum of modern art in Skopje and that same year she donated several collections to the National Library of Paris, which at that time did not have the funds to buy photographs by French authors. The most outstanding characteristic of his work is the use of black and white, mainly wide-angle shots and his dramatic hallmarks in the laboratory. His style shows the influence of surrealism and new objectivity. His work has received international awards from Japan to the United States and is distributed in different parts of the world. Among the awards he has received are the Niépce Prize in 1959 and the Grand Prix National de Photographie in 1992. He was named Knight of the Legion of Honor.

估价 10 000 - 13 000 EUR

编号 5 - DAVID LACHAPELLE (Hartford, Connecticut, 1963). "Awakened Series Jonah" 2007. Digital photograph, copy AP 3/3. Signed on the back. Measurements: 152.4 x 114.3 cm; 154 x 116 cm (frame). With his "Awakened" series, LaChapelle set a new direction for his work. Inspired by the biblical narrative, he takes anonymous people playing the role of biblical characters (here we show the figure of Jonah), immersed in water, in a state of levitation. The beautiful lighting, their expressions, the weightlessness of the clothes, all contribute to introduce the viewer into a welcoming mystical dimension. These works confirm LaChapelle's deep connection with the transcendental, with the presence of the divine in the everyday and with the idea of the sublime. LaChapelle's career began in a significant way in the year 1982, when Andy Warhol prompted him to publish his photographs "Interview". "Andy Warhol corresponds perfectly to his time," says the photographer, "He is without a doubt a great artist of the 20th century. He was very generous and I learned a lot from him, but we belong to two different generations and have different ideas. The most valuable art today is that which manages to clarify the time in which we live, and that's what I try to do." David LaChapelle's wacky, bizarre and fantastic images have appeared on the pages and covers of Vogue, Rolling Stone, i-D, Vibe, Interview, The Face and GQ magazines, just to name a few. His style is unique and recognizable, he works with open shots, fresh and extremely colorful scenes showing his pop-art style. His shots have a meticulous and detailed work, working with the physical aspect of the character taking it almost to caricature. "I try to take pictures that I've never seen before," LaChapelle says. Talented creative, he plays with fictitious and grotesque scenes, mostly artificial and has an excellent production, the images are generally at the time of shooting, with little post-production. We can also see in his work the criticism of the society in which we live full of excesses and vanity. His unconditional dedication to originality is legendary in the world of fashion, film and advertising. LaChapelle has participated in advertising campaigns for a variety of clients including L'Oreal, Iceberg, MTV, Ecko, Diesel Jeans, Sirius, Ford, Sky Vodka, Cervecería Cuahtemoc Moctezuma and the Got Milk? campaign. David has photographed numerous album covers for artists such as Macy Gray, Moby, No Doubt, Whitney Houston, Elton John, Christina Aguilera, Madonna and Kylie Minogue. His successful first book, LaChapelle Land, was published in 1996 by Collaway Publishing, bringing within its extravagant packaging, an explosive collection of portraits of celebrities and models, including Lady Gaga, Madonna, Shakira, Leonardo DiCaprio, Pamela Anderson, Uma Thurman, Marilyn Manson, Mark Wahlberg, Drew Barrymore and Elton John. The successor to this debut was the book Hotel LaChapelle, also published by Collaway in 1999, which showcases fresh images with unforgettable colors. LaChapelle continues to achieve photographs that confront our visual tastes, taking a fresh look at today's landscape.

估价 28 000 - 30 000 EUR

编号 6 - ROBERT MAPPLETHORPE (New York, 1946- Boston, 1989). "Lisa Lyon," 1982. Gelatin silver, printed in 1982, mounted. Exemplar 1/10. Provenance: Sean Kelly Gallery, New York, Phillips, "SPOTLIGHT: Photographs from a Private London Collection," 2023 and Private Collection, Spain. Bibliography: R. Mapplethorpe, Lady: Lisa Lyon, New York: St. Martin's, 1983, p. 94 (variant). Signed and dated by Michael Ward Stout, executor, in ink, copyright ownership, limitation of reproduction and signature stamp on reverse of recessed mount. Measurements: 38.7 x 38.4 cm: 66 x 64 cm (frame). Lisa Lyon achieved fame as the first female world bodybuilding champion. In 1980 she met Mapplethorpe and began a great friendship that led to a prolific artistic relationship. Lyon's physique allowed the photographer to portray subjects of his interest such as androgyny, the anatomy of classical statuary or even American culture. Since 1980, Mapplethorpe began a series of portraits in which Lyon was captured under his lens in multiple ways, one of them being photography. All this work was immortalized in the book Lady: Lisa Lyon (1983). American photographer, known for her sensitive yet forceful treatment of controversial subjects in the black and white medium of photography. Her work included a variety of subjects, including celebrity portraits, male and female nudes, self-portraits, and images of dead flowers. His most controversial work is of the BDSM subculture in the late 1960s and early 1970s in New York City. The homoeroticism of this work fueled a national debate over public funding of controversial artwork. Mapplethorpe worked primarily in a studio, and almost exclusively in black and white, with the exception of some of his later work and his final exhibition "New Colors." His body of work features a wide range of subject matter, but his primary focus and the bulk of his work is erotic imagery. He would refer to some of his own work as pornographic, aiming to arouse the viewer, but which could also be considered great art.His erotic art explored a wide range of sexual themes, depicting the BDSM subculture of New York in the 1970s, depictions of black male nudes and classic nudes of female bodybuilders. Mapplethorpe was a participant observer in much of his erotic photography, participating in the sexual acts he was photographing and engaging sexually with his models. Other subjects included flowers, especially orchids and lilies, children, statues, and celebrities and other artists, such as Andy Warhol, Louise Bourgeois, Deborah Harry, Kathy Acker, Richard Gere, Peter Gabriel, Grace Jones, Amanda Lear, Laurie Anderson, Iggy Pop, Philip Glass, David Hockney, Cindy Sherman, Joan Armatrading, and Patti Smith. Smith was a roommate of Mapplethorpe's and a frequent subject of his photography, including an iconic, somber photograph that appears on the cover of Smith's first album, Horses. His work often referenced religious or classical imagery, such as a 1986 portrait of Patti Smith that recalls Albrecht Dürer's 1500 self-portrait. Between 1980 and 1983, Mapplethorpe created more than 150 photographs of bodybuilder Lisa Lyon, culminating in the photo album Lady, Lisa Lyon, published by Viking Press and featuring text by Bruce Chatwin. Bibliography: R. Mapplethorpe, Lady: Lisa Lyon, New York: St. Martin's, 1983, p. 94 (variant)

估价 10 000 - 12 000 EUR

编号 7 - HANNAH COLLINS (United Kingdom, 1956). "Kitchen. La Laboral Gijón". 2006 Digital print on canvas. Diptych. With Joan Prats gallery stamp on the back. Provenance: Joan Prats Gallery. Barcelona. Measurements: 192 x 274 cm. This photograph was part of the solo exhibition "A future Life", held in 2006 at the Joan Prats gallery in Barcelona. Hannah Collins' photographic work is a reflection on the passage of time and the presence of the human trace in different environments. Her photographs of interior spaces reveal an implicit, latent social history. For the artist, fleeting glimpses of cities do not provide a full understanding of their existence. Far from the documentary character, her scenes consciously mix that reality with a fiction that gives them a new meaning. The dreary, institutional "Kitchen" shown in this photograph is part of the artist's research on migrant lives and memory. It is worth linking it to a later series she would present at LABoral Centro de Arte y Creación Industrial in Gijón (2017), entitled "The Fragile Feast", which focused on kitchen photography, and opened a dialogue between culinary art and photographic art. A British artist and filmmaker, Hannah Collins studied at the Slade School of Fine Arts in London, and later extended her training in the United States thanks to a Fullbright scholarship (1978-79). Throughout her career she has held important solo exhibitions in leading art galleries and art centers in Europe and America, and has participated in group exhibitions held at the Victoria & Albert Museum in London (1987, 1989, 1989, 1989). Albert Museum in London (1987, 1989, 1989, 1995, 2002), the Centre National des Arts Plastiques in Paris (1989), the Museum of Modern Art in Kyoto (1990), the Fundació Joan Miró in Barcelona (1992, 1998), the Museo Español de Arte Moderno in Madrid (1994, 2008), the Saatchi Gallery in London (1994), the Helga de Alvear Gallery in Madrid (1999), the Tate Modern in London (2000), the Centre Georges Pompidou in Paris (2006) and the Kulturhaus in Vienna (2011), among others. Based between London and Barcelona, in 1993 she was nominated for the Turner Prize, in 1991 she won the European Photography Award and in 2004 the Olympus Award. She is currently represented at the Tate Modern in London, the Centre Georges Pompidou in Paris, the MNCA Reina Sofía in Madrid, the MACBA in Barcelona and other public and private collections in Europe and America.

估价 14 000 - 15 000 EUR

编号 8 - JAUME PLENSA (Barcelona, 1955). "Twins", 2018. Etching in aquatint. Signed. Measurements: 100 x 71 cm; 113 x 83 cm (frame). Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

估价 2 500 - 3 000 EUR

编号 9 - LORETTA LUX (Dresden, Germany, 1969). "Hugo and Dylan 1", 2006. Photography, edition 10/20. Work referenced on the artist's website. Measurements: 27 x 22 cm; 50 x 40 cm (frame). The resounding success of photographer Loretta Lux lies, in part, in her cold and unsentimental approach to the children captured through her lens. Her snapshots, which have more to do with metaphors of childhood innocence than with the psychology of individuals, are influenced by the bourgeois portraits of the early twentieth century, showing us young models in domestic settings dressed in eccentric outfits that are now considered old-fashioned. Aesthetically, the mixture of photography, painting and digital manipulation is appreciated, by means of which Lux distorts proportions and places the children in static scenarios. Loretta Lux left East Germany shortly before the fall of the Berlin Wall to travel to Munich, where she studied painting at the Akademie der Bildenden Künste. In 1999 she began taking photographs. She was awarded the 2005 Infinity Award for Art, International Center of Photography, New York, NY. Throughout her career she has exhibited in Israel, Italy, Switzerland, Mexico, Netherlands, USA, Russia, Germany (solo). Currently his work is part of public collections such as the Solomon R. Guggenheim Museum in New York. Guggenheim Museum in New York, the National Museum of Art in Osaka, the Photo Museum in Munich, the Musée de l'Elysée de Lausanne in Switzerland, the Maison Europeenne de la Photographie in Paris, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Israel Museum, Jerusalem in Israel, the Gemeentemuseum Helmond in the Netherlands, the Art Gallery of New South Wales in Sydney, the National Gallery of Victoria in Melbourne and the Art Gallery of Alberta in Edmonton, Alberta, Canada. In the United States: the Art Institute of Chicago, the Brooklyn Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Milwaukee Art Museum or the San Francisco Museum of Modern Art. He currently lives and works in Ireland.

估价 6 500 - 7 000 EUR

编号 10 - HENRI CARTIER-BRESSON ( Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Farmer", 1950-1959. Gelatin silver. Later print. "To Madame Bardinet en hommage" and blind copyright credit stamp (in margin). Signed in ink. Provenance: Alona Kagan Gallery NY. Measurements: 16 x 23, 5 cm. In this work of great expressiveness we see how a farmer reaches out his hand to someone who is outside the viewer's plane. The scene seems to represent a traditional image, but the artist goes further, not only because it captures a completely ephemeral moment, usual in the artist's production, but also because of the mystery of a character who is part of the scene, but whose identity is not revealed. Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35 mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work.Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected a member of the American Academy of Arts and Sciences. His work is in the collections of the Art Institute of Chicago, the Museum of Modern Art, the International Center of Photography, the Victoria and Albert Museum and the J. Paul Getty Museum.

估价 3 000 - 4 000 EUR

编号 11 - ALFRED EISENSTAEDT ( Dirschau, West Prussia, 1898- United States, 1995). "V-J Day in Times Square, New York," 1945. Gelatin silver print. Printed at time life photo in 1991. Signed, dated, titled in pencil on reverse and Time Warner copyright limitation in pencil (on reverse). Provenance: Alona Kagan Gallery NY. Measurements: 48 x 33 cm; 62 x 51 cm (frame). A week after Alfred Eisenstaedt captured this moment, Life magazine, in a section called Victory and dedicated to celebrating the end of World War II, published this snapshot along with many others reflecting the happiness of the end of the war. However, this photograph rose above the rest and became an icon. A nurse and a Marine, a defender of the nation and someone dedicated to preserving his life kiss, symbolizing hope for the future. He began his career in Germany before World War II, but rose to fame as a photographer for Life magazine after moving to the United States. Eisenstaedt was fascinated by photography from his youth and began taking pictures at the age of 11, when he was given his first camera, an Eastman Kodak Folding Camera with roll film. He later served in the German army artillery during World War I and was wounded in 1918. While working as a belt and button salesman in 1920s Weimar Germany, Eisenstaedt began taking freelance photographs for the Berlin office of Pacific and Atlantic Photos in 1928. Eisenstaedt became a full-time photographer in 1929, when he was hired by the Associated Press office in Germany, and within a year was described as an "extraordinary photographer." He also worked for Illustrierte Zeitung, published by Ullstein Verlag, then the world's largest publishing house. Four years later he photographed the famous first meeting between Adolf Hitler and Benito Mussolini in Italy. He photographed Adolf Hitler at St. Moritz in 1932 and Joseph Goebbels at the League of Nations in Geneva in 1933. Although initially friendly, Goebbels frowned at Eisenstaedt when he took the photograph, after learning that Eisenstaedt was Jewish. In 1935 due to the political situation he moved to New York, where Eisenstaedt became a naturalized citizen and joined fellow Associated Press émigrés Leon Daniel and Celia Kutschuk in their photographic agency PIX Publishing, founded that same year. The following year, 1936, Time founder Henry Luce bought Life magazine, and Eisenstaedt, already known for his photographs in Europe, was invited to join the new magazine as one of the four original photographers, including Margaret Bourke-White and Robert Capa[8]. He remained on staff from 1936 to 1972, noted for his news and celebrity photojournalism.

估价 8 000 - 10 000 EUR

编号 12 - LAURIE SIMMONS (Long Island, New York, 1949). "Plaid living room". The instant decorator Series, 2004. Flex print. Edition 3/5. Work reproduced on the artist's website. Presents certificate of authenticity, exhibition labels and signature on the back. Provenance: Distrito Cuatro Gallery (Madrid). Measurements: 76,2 x 96,5 cm; 84,1 x 104,1 cm (frame). "Plaid living Room" (2004) belongs to the Instant Decorator series, which was initiated by Simmons in 2001, with the intention of materializing his research around a book on interior decoration published in 1976. This publication had different templates of domestic interiors, which allowed the reader to decorate rooms with fabric swatches and different paintings. By rescuing this "Do it by yourself" idea, the author constructed an image that echoes the aesthetics of collage, where different independent elements coexist, forming a set of great visual expressiveness. Through a domestic interior in which an elegantly dressed woman lies on the carpet, the author poses to the viewer an uncertainty about who this character is, and what she represents. The protagonist is surrounded by luxuries, and looks at the viewer suggestively, but she is alone, and her pose and dress invite her to be represented as just another piece of furniture, as an object of consumption. This representation of the woman, reflecting on her role in the social environment, was one of the first themes explored by Laurie Simmons in her works. In which she related the space of the home with the feminine, like other artists such as Martha Rosler, or Barbara Kruger, who used similar themes and techniques to the one presented here. Laurie Simmons grew up in Long Island, in an era of economic expansion that marked the beginning of material prosperity, but also gave rise to a state of conformity, characteristics that are very recurrent in the themes explored by the artist. Her career stands out for its versatility, as she works as an artist, photographer and filmmaker. After graduating from Tyler School of Art in the late 1960s and settling in New York City, Simmons began to develop her artistic side. In 1972, Simmons discovered a vintage dollhouse in the attic of a toy store in Liberty, New York, so she began making compositions with dolls, which she subsequently photographed and intervened. Most of his works make a statement about traditional gender roles, questioning them and criticizing the objectification of the person, especially women. Simmons is part of the important artistic group, The Pictures Generation, a name given to a group of artists who rose to fame in the 1970s, and which includes world-renowned artists such as Cindy Sherman, Barbara Kruger and Louise Lawler. Much of Simmons' work, like that of the aforementioned artists, is rooted in the role of women and their integration with their environment and society. In a March 2014 interview, Simmons stated, "When I picked up a camera with a group of other women, I'm not going to say it was a radical act, but we were certainly doing it in a kind of defiance or reaction to, a male-dominated world of painting." Today her work is in important collections both private and public, examples include the Queen Sofia Art Center, the Art Institute of Chicago, MoMA in New York, the National Gallery of Art in Washington, D.C., and the Los Angeles County Museum of Art, among others. Work reproduced on the artist's website. Presents certificate of authenticity, exhibition labels and signature on the back. Provenance: Distrito Cuatro Gallery (Madrid). Gallery Distrito Cuatro (Madrid).

估价 4 000 - 5 000 EUR

编号 13 - MARK LAITA (Detroit, 1960). "Police officer/Hang", 2005/1999. Two digital photographs. Diptych, ed. 1/3. Signed, titled and dated on the back. Stamped on the back. Published work. Sizes: 145 x 116 cm; 162 x 130 cm (frame), each. Mark Laita is a wonderful American photographer who, after several years devoted to commercial photography, has in recent years presented a series of books of his personal work. Of these, I have selected a sample of two of the most interesting: "Created Equal", from 2010 and "Serpentine", from this year. He has produced award-winning commercial work for clients such as Adidas, Apple and Mercedes-Benz. Laita's first book of non-commercial work, Created Equal, is the result of an eight-year cross-country project featuring 8×10 black-and-white portraits of Americans from a wide range of cultures, occupations and backgrounds. Her work has been exhibited in galleries in the United States and Europe.

估价 6 000 - 7 000 EUR

编号 14 - GEORGES ROUSSE (Paris, 1947). "Luxembourg: Fers à Bétons", 2004. Print on aluminum, copy 1/5. Signed and titled on verso. Label with stamp on the back. Measurements: 160 x 125 cm; 165 x 132 cm (frame). Georges Rousse's work is characterized, since the beginning of the eighties, by the relationships he establishes between photography, painting, sculpture and architecture. His interest in abandoned, dismantled and ruined places, as well as in what these spaces reveal about the culture that has generated them, led him, in 1986, to settle for a time in the former Van Gogh psychiatric hospital in the French town of Arles. The result of this stay was the Arles series, which was the starting point of the MACBA exhibition. His work is a very significant example of the importance that photography achieved throughout the eighties and further proof of the value of the photographic device as a tool for contemporary creation. Collapsing the usual restrictions among artistic media, his unique work quickly made its mark on the contemporary art world. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, in Asia (Japan, Korea, China, Nepal), in the United States, in Quebec and in Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Drawing Prize Salon de Montrouge 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

估价 15 000 - 18 000 EUR

编号 15 - CARMELA GARCÍA (Lanzarote, 1964). "Women", 2000. Photograph. Provenance: Important Spanish Collection. Size: 130 x 150 cm. As a central element of her works, in "Women" Carmela Garcia presents us with the need to rethink the world from a gender perspective which does not only imply the possibility of a different future, but also means in the first instance, a scenario of vindication around the consideration of the feminine where, in the words of the artist, it is necessary "A kind of deconstruction of what patriarchal society has established about what women are and should be, and a reconstruction of a feminist ideal of the world, where they are liberated from constraints". In this case, the powerful symbolism of the image with the iconic Barbie doll subjected to the scorching fire of a kitchen cooker directly questions the spectator in relation to the role in which women have traditionally been pigeonholed in a pejorative way, at the same time as it launches a message about the need to put an end to the dictatorship of beauty canons that are increasingly disconnected and distant from the reality of women. Born in Lanzarote in 1964. Carmela Garcia began her studies of photography in Madrid and Barcelona, until 1998, when she began to show her work to the public. From the beginning, she has combined her social interests in photography, through literary, plastic and audiovisual references, creating an artistic corpus about the stereotyped image of women in society and the need to rethink and reformulate their role in the world. After producing series as representative as "Chicas, deseos y ficción" or "Constelación", Garcia was selected in 2005 among the hundred best Spanish photographers in the list elaborated by Exit, something that confirmed the tendency of growing importance in the works elaborated in the last years. In recent years she has been working on video works to revise various stereotyped images of women. She has become the most recognised Canarian artist of the last decade thanks to a profoundly feminist discourse, through which she represents an idealised world where men are absent and women remain outside the traditional male gaze. Her work has been shown at the Centro de Arte Reina Sofía in Madrid (Espacio Uno), the Centro de Fotografía de Coímbra, the MUSAC in León, the Centro Atlántico de Arte Moderno CAAM in Gran Canaria, the IVAM in Valencia, in the group exhibition El real viaje Real /The Real Royal Tryp at PS1, Contemporary Art Center at MOMA (New York) curated by Harald Szeemann,3 at the MOT Kanazawa in Japan, the University of Salamanca and the European House of Photography in Paris, among others.4567. He has exhibited at the Juana de Aizpuru galleries in Seville and Madrid, and in 2003 at the Altamira Gallery in Gijón.8910 Together with the Juana de Aizpuru gallery, he has attended international fairs such as Arco Madrid, Art Basel, Paris Photo, Frieze London, etc.

估价 9 000 - 10 000 EUR

编号 16 - BLEDA Y ROSA, María Bleda (Castellón, 1968) José M. Rosa (Albacete, 1970). Grao de Castellón, 1994. Series "Soccer fields". 1992-1995. Gelatin-silver bromide positive on rigid 100% cotton support. Ed. 5/15. With label of the Visor Gallery, Valencia. Measurements: 45 x 55 cm; 84 x 93 cm (frame) (each one). "Campos de fútbol" is one of the most representative series of the photographers Bleda and Rosa. They themselves explain about this project: "With the aim of representing the passage of time through the photographic image, at the end of 1992 we began to photograph soccer fields, attracted by those spaces that we could find at the exit of any town or on the outskirts of the city. These were places similar to those of our childhood, but due to factors such as migration from the village to the city, low birth rates or urban sprawl, they were in an advanced process of transformation or abandonment". María Bleda and José María Rosa are two Spanish photographers who use photography as a resource for their artistic expression. Their joint work could be considered as a single author and has been recognized with the National Photography Award. Since 1992 they have been holding regular exhibitions, both individual and collective, all over Spain, but also in Scotland, Portugal, the United States, China, etc. Their work can be found in the collections of different institutions such as ARTIUM, Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Contemporáneo de Castilla y León, etc. They have also received several awards and recognitions such as: 1995 Imágenes Jóvenes - Arte Joven, Madrid.1996 Premio Arte Joven, Valencia.1997 Accésit Certamen de Artes Plásticas, Castellón.1999 Grand Prix Ville de Collioure.2001 Premio Altadis Artes Plásticas, Madrid.2002 Honorable Mention, IV Premio de pintura y fotografía ABC, Madrid.2005 Premio PHotoEspaña Fotógrafo Revelación, Madrid. Presents label of the Visor Gallery, Valencia.

估价 2 500 - 3 000 EUR

编号 17 - PIERRE GONNORD (France, 1963). "Soho", from the series "City", New York, 2001. Photograph, copy 1/5. Signed, dated, numbered, titled and located on the back. With label on the back of the Juana de Aizpuru Gallery. Measurements: 150 x 150 cm. Considered one of the most talented photographers of recent times, Pierre Gonnord imbues his work with a melancholic and heartbreaking aura that "narrates, under the skin, singular and unusual stories about our times", according to the critic Rafael Doctor. His portraits, reminiscent of the great masters of art history such as Rembradt, Veermer, Caravaggio, Goya, Zurbarán and Velázquez, focus on the outcasts of society and their stories. In his works we find vagrants, mentally ill people, prisoners and the blind, but also monks, geishas and members of urban gangs, i.e. people who also remain on the fringes of their society in a different way. A prominent French photographer born in Cholet, Pierre Gonnord has lived in Madrid since 1988, and currently works in collaboration with the prestigious Juana de Aizpuru gallery. A self-taught artist and winner of the 2007 Community of Madrid Culture Prize, in 1998 Gonnord began a personal project, which defines his mature language, centred on the human face. The first series in this new style were "Interiors" (Madrid, 1999) and "City" (New York, 2001), derived from his own urban experience. Later he will make new series, already with characters of different ethnicities: "Regards" (2002-2003), "Far East" (Japan, 2003) and "Utopians" (2004-2005). In these last series, Gonnord approaches characters marginalised by society, portraying them in close-ups. In his latest series, "Witnesses", he has approached the world of the gypsies and the people who have lived through the tragedies of the Balkans and North Africa. Throughout his career, Gonnord has held exhibitions of his work in Spain, France and the United States, among other countries, both in galleries and in museums and art centres, including the Centro Cultural Conde Duque in Madrid, the Maison Européenne de la Photographie in Paris, the Museo de Bellas Artes in Seville, the University of Salamanca, the Atelier des Forges in Arles, the FRAC of Auvergne-Ecuries in Chazerat and the photographic festivals of Helsinki and Oslo. Today he is mainly represented in the Juana de Aizpuru gallery, but his work can also be found in other important collections, such as that of the Museo Nacional Centro de Arte Reina Sofía.

估价 8 000 - 10 000 EUR

编号 18 - FRANK THIEL (Kleinmachnow, Germany, 1966). "Stadt Berlin", 2000. Photograph. Signed and dated on the back. Size: 175 x 238 cm. The photograph on offer here is closely related to the artist's biography since, although Frank Thiel was born in East Germany, in 1985 he moved to West Berlin to study photography. His professional career thus began with an in-depth study of the city and its transformation, his second reconstruction. Thiel's most characteristic work is that of his first period, when he reflected the fall of the Berlin Wall and the planning of a new city on the basis of the foundations laid by its previous double centrality, that is, when he documented the constant transformation of the German capital. Born in a town near Berlin, in 1985 he moved to West Berlin, where he attended photography training school from 1987 to 1989. In the German capital he documented its social and political history. Thiel refers to Berlin as "the youngest city in the world" and further explains that "the city suffers from an overdose of history... however, it does not suffer from its sediments like other European cities, but from the consequences of its eruptions". Thiel is currently represented in major European institutions, including the Reina Sofia Museum, the National Gallery of Canada, the Fotomuseum Winterthur in Switzerland, the Moderna Museet in Stockholm, the Hirshhorn Museum and Sculpture Garden in Washington and the Phillips Collection in Washington.

估价 20 000 - 22 000 EUR

编号 19 - YASUMASA MORIMURA (Osaka, 1951). "Doublonage". Photograph, copy 1/10. Signed and titled on the back. Size: 102 x 81 cm. In "Doublonage", Morimura pays homage to Paul Outerbridge, one of the masters of colour photography who made his mark in New York in the 1930s. Specifically, the Japanese artist bases his work on "Ide necklace", Outerbridge's first advertising commission, which was published in Vanity Fair magazine the year after it was made, although with slight nuances with respect to the original: Morimura dispenses with the letters and labels on the object, thus stripping it of the indications that help to contextualise it. Outerbridge's photograph is kept in important international museums, such as the Met and MoMA in New York. Morimura is a Japanese appropriationist artist. He was born in Osaka and graduated from Kyoto City University of the Arts in 1978. Since 1985, he has shown his work mainly in solo exhibitions internationally, although he has participated in several group exhibitions. Morimura takes images of historical artists (from Édouard Manet to Rembrandt and Cindy Sherman), and inserts his own face and body into them. He even disguises himself as the main subjects that appear in the artworks he appropriated - many of which go against his racial, ethnic and gender boundaries as an Asian man, because most of the artworks he appropriates have Western subjects, particularly female subjects. He also inserted himself into some of the Western male subjects, and most of those works deal mainly with race and ethnicity. Through the use of disguises, he overrides the effects of the male gaze, gender, race, ethnicity and cultural standards, challenging traditional methods of portraiture that alters the original Western artworks by incorporating details related to Japanese culture. For example, in one of his works, Portrait (Futago), he changes the floral shawl of the original artwork, Olympia by Manet, with a kimono decorated with cranes. His works have been exhibited at the Museum of Contemporary Art in Chicago (1992), the Cartier Foundation for Contemporary Art in Jouy-en-Josas, France (1993), the Hara Museum of Art in Tokyo (1994), the Guggenheim Museum. Museum (1994), the Yokohama Museum of Art in Yokohama, Japan (1996), the Museum of Contemporary Art in San Diego (2006), and the Art Gallery of New South Wales in Sydney (2007), among others, and his work is now owned by the Carnegie Museum of Art (Pittsburgh), the Honolulu Museum of Art, the J. Paul Getty Museum (Los Angeles), the J. Paul Getty Museum (Los Angeles), the Hara Museum of Art in Tokyo (1994), the Hara Museum of Art in Tokyo (1994), and the Hara Museum of Art in Tokyo (1994). Paul Getty Museum (Los Angeles), the Museum of Contemporary Art, Chicago, the Museum of Contemporary Art, Los Angeles, the San Francisco Museum of Modern Art and the Whitney Museum of American Art (New York) are among the public collections that hold works by Morimura.

估价 13 000 - 14 000 EUR

编号 20 - MARIA ACHA-KUTSCHER ( Lima, Peru, 1968). Untitled. 2019. Series "Womankind". Pigmented inks on Hahnemühle Photo Rag Baryta paper, 315 gr. With label from Taller Digigráfico de Madrid. Sizes: 41,5 x 30 cm; 62 x 50 cm (frame). As the artist herself explained in an interview in "Elemmental" about this series: "Womankind is an intertextual work, full of quotations from works of art, photography, film, literature and the memory of political struggle. In all the photographic collages of this project, women occupy a central place, not as objects of contemplation, but as protagonists of their own history. It is therefore crucial that the images are plausible, in order to construct a large archive of fictional documents". By combining archival images and collage, Acha-Kutscher claims an autonomous place for women, a place that was stolen from them. María Acha-Kutscher is a Peruvian feminist visual artist based in Spain. She is co-director with Tomás Ruiz-Rivas of the experimental project Antimuseo. She studied at the Faculty of Fine Arts of the Pontificia Universidad Católica del Perú. After finishing her studies in 1991 she moved to Mexico City, where she worked as an art director in advertising agencies. This experience as a designer has been crucial for the realisation of her artistic-militant work. In 2001 she moved to Madrid and became involved in the alternative contemporary art scene through her partner Tomás Ruiz-Rivas. Her work vindicates and makes feminism visible. Since 2010, Acha-Kutscher has focused on three long-term projects: Womankind, Indignadas and Herstorymuseum. Womankind consists of several series of digital photographic collages, created from archival images, from the internet, magazines, books and photographs taken by the artist. Among her most recognised series is Indignadas, which belongs to the project for the recovery of women's historical memory, Mujeres Trabajando para Mujeres" (Women Working for Women). Her latest project is Herstorymuseum, an imaginary museum that, through its collection and a curatorial programme, develops a rhizomatic and non-hierarchical narrative of women creators of the 20th century. Its collections are made up of images based on a visual language close to the pictogram, in which only two spots of colour are used. The exhibitions are held in public spaces, art centres, galleries and also on its website. The exhibitions establish relationships between different women artists and works, thus developing a different narrative from the official art history.16 Herstorymuseum is a member of the International Association of Women's Museums (IAWM). Acha-Kutscher has shown her work at Museo Nacional Centro de Arte Reina Sofía (MNCARS), Centro de Arte Dos de Mayo (CA2M), Centro Gallego de Arte Contemporáneo (CGAC), La Virreina Centre de la Imatge, The Fed Galleries @ KCAD (USA), M.A.C.L.A. (USA), Haifa Museum of Art (USA), Haifa Museum of Art (USA) and the Museum of Contemporary Art (USA).), Haifa Museum of Art (Israel), International Museum of Woman-IMOW, Galería - Centro Cultural de la Universidad de Lima (Peru), Centro Cultural Inca Garcilaso (Peru), Centro de la Imagen (Mexico), Foto Museo Cuatro Caminos (Mexico) Fototeca Nuevo León (Mexico), among others. In Spain at CentroCentro, Museo de la Universidad de Alicante-MUA, Centro de Arte Contemporáneo Caja de Burgos, Museo de Arte Moderno y Contemporáneo de Santander and Cantabria-MAS, among others. He has also participated in contemporary art fairs such as Zona Marco (Mexico City). And in Madrid in the fairs ARCO, Estampa, Madrid Photo, ArteSantander, Munich Contemplo, in his country of origin Peru in the fairs Art Lima and Lima Photo.

估价 2 000 - 2 500 EUR

编号 21 - PER BARCLAY (Oslo, 1955). "The slaughter house", 1996. Type C photograph of the installation created. Provenance: private collection. Formerly Oliva Arauna Gallery (Inver-Kalis SA). Measurements: 205 x 165 cm. With the installation "The Slaughterhouse", Per Barclay played with the reflective effect of the blood of the cattle, making the floor shine. In the same way that in other installations he deployed symbolisms of the disturbing effects of spilled oil in uninhabited spaces, here the references are multiplied: nods to the history of art, but also to the idea of sacrifice and violence. Per Barclay is a sculptor, photographer and art historian. His art installations have been seen in museums all over the world. Per Barclay's work combines concepts of tension and drama, which he works with the influence of the Norwegian artist Edvard Munch. After studying art history in Bergen, in 1979 he left Norway to find new artistic references in Italy. In Florence he studied design and photography, then moved to the Academy of Bologna in 1981 and two years later to Rome. After spending time in Naples, he moved to Turin, where he came into direct contact with the artists of Arte Povera. From then on, the artist used oil and water as pictorial elements, and steel and glass as structural materials for his pieces. In 1994 he moved to Paris, where he lives and develops his projects. His works can be found, among others, in the National Museum of Art, Architecture and Design, the Henie-Onstad Art Centre, in the museum of contemporary art "Kiasma" in Helsinki and in different museums in Spain (Koldo Mitxelena Kulturunea, Museo Nacional Centro de Arte Reina Sofía), Italy and France (Centre de Création Contemporaine). He participated in the Venice Biennale in 1990, in the Lillehammer Art Museum during the Winter Olympics in Lillehammer in 1994, in the Bergen International Festival in 2001 and the Northern Norwegian Festival in 2009, and has contributed to the international project Skulpturlandskap Nordland.

估价 26 000 - 27 000 EUR

编号 22 - GEORGES ROUSSE (Paris, 1947). Untitled. Barcelona, 2003. Photographic paper, copy 12/30. Signed, numbered, traced and dated by hand. Exhibited at the Carles Taché gallery, Barcelona, 2003. Size: 52 x 41 cm; 75 x 63 cm (frame). Since the early 1980s, Georges Rousse's work has been characterised by the relationships he has established between photography, painting, sculpture and architecture. The photographic language, however, is the backbone of the others, dialoguing with them and playing with spatial effects. This was seen in the exhibition held at the Carles Taché gallery in Barcelona, of which this work was part. Ever since he received a Kodak Brownie Flash as a Christmas present when he was 9 years old, the camera has never left Georges Rousse's hands. While studying medicine in Nice, he decided to learn the techniques of photography and printing from a professional, and then set up his own architectural photography studio. Increasingly, his passion led him to devote himself entirely to the artistic practice of this medium, following in the footsteps of the great American masters Edward Steichen, Alfred Stieglitz and Ansel Adams. It was with the discovery of the works of Land art and Kasimir Malevitch's Black Square on a White Background that Georges Rousse chose to intervene in the field of photography, establishing a relationship between painting and space. He appropriates abandoned places that he has always liked, transforms them into pictorial spaces and builds there a unique and ephemeral work that only photography can reproduce. In order to allow the spectator to share his experience of Space, he has been presenting his images in large format prints since the early 1980s. This strong and singular work, which shifts the boundaries between traditional media, immediately imposed itself on the contemporary art scene. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, Asia (Japan, Korea, China, Nepal), the United States, Quebec and Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Salon de Montrouge Drawing Award 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

估价 3 000 - 3 500 EUR

编号 23 - STÉPHANE COUTURIER (Neuilly-sur-Seine, Hauts-de-Seine, 1957) "Seoul Yoido Dong, 1998. Photograph. Size: 127 x 107 cm; 133 x 112 cm (frame). Stéphane Couturier dedicated a series of photographs to the South Korean capital, as well as to other cities, in which his interest in abstracting urban details is evident. He deals with the subject of metropolitan transformations from a unique perspective and is considered the leading French exponent of "urban archaeology", as is Thomas Struth in the German context. He began exhibiting urban themes in Parisian galleries in the mid-1990s. Specialised in architectural photography, he lives and works in Paris. He was awarded the Niépce Prize in 2003. Stéphane Couturier's work, which came to light with his series on the Renault factory in Boulogne-Billancourt, is essentially composed of large-format photographs taken with a camera or medium format, in which the viewer's eye is lost, captivated by the details. The strength of his images comes from this visual play based exclusively on film, until his recent series Melting Point, taken at the Toyota factory in Valenciennes. Here he experimented with the fusion of 2 previously scanned images; the result is a profusion of richly coloured details that magically achieves a great coherence. Stéphane Couturier has progressively turned towards artistic photography: his photographs of building sites reveal an organic city in transformation and colour, sometimes in giant diptychs or triptychs. In Landscape, he focuses on the new cities of California, but always under a cloudy sky that overwhelms the different shots. His work has been exhibited at the Bibliothèque nationale de France in Paris (2004), the Seoul Museum of Art (2005), the Moscow Museum of Architecture (2006), the International Center of Photography in New York (2006), the Hôtel des Arts in Toulon (2014), the Maison Européenne de la Photographie in Paris (2015), the Musée Nicéphore Niepce in Châlon sur Saône (2016), the Musée de la Photographie in Charleroi, Belgium (2017) and the Musée Fernand Léger in Biot (2018). His work has also been published in several books. He is represented by Galerie Particulière 1 in Paris, Benrubi Gallery in New York, Galerie Kornfeld in Berlin and Galerie Christophe Guye in Zurich. In May 2018, Stéphane Couturier signed a petition with leading personalities from the world of culture to boycott the joint "France-Israel" cultural season, which, according to the petition, serves as a "showcase" for the State of Israel to the detriment of the Palestinian people. Stéphane Couturier has participated in numerous exhibitions, some of which are listed here: 2021 Stéphane Couturier, Christophe Guye Galerie, Zurich, Switzerland 2016 Alger, Climat de France, Musée Nicéphore-Niépce, Chalon-sur-Saône, France Anaklasis, La Galerie Particulière, Paris, France; Paris Photo, Galerie Particulière Booth, Grand Palais, Paris, France.

估价 7 000 - 8 000 EUR

编号 24 - MARK LAITA (Detroit, 1960). "County Fair Livestock Show Contestant, Sara Von Berger, Salina, Kansas, August 8, 2003 / Cajun Man with Alligator, Charles Olivier, Loreauville, Louisiana, 2003". Ed.2/6. B&W photographs on photographic paper mounted on aluminum. Signed, dated and titled on the back. Measurements 102 x 81 cm each. 116,5 x 179 cm (frame). Mark Laita is a wonderful American photographer who after several years dedicated to commercial photography has presented in recent years a series of books with his personal work. Of these, I have selected a sample of two of the most interesting: "Created Equal", from 2010 and "Serpentine", from this year. He has produced award-winning commercial work for clients such as Adidas, Apple and Mercedes-Benz. Laita's first book of non-commercial work, Created Equal, is the result of an eight-year cross-country project featuring 8×10 black and white portraits of Americans from a wide range of cultures, occupations and backgrounds. Her work has been exhibited in galleries in the United States and Europe.

估价 3 000 - 3 500 EUR

编号 25 - MARK LAITA (Detroit, 1960). "Young Man with Boom Box, Billy Monroe", Venice, California, April 26, 1999. "Sunbather, Joey Caveseno", Coney Island, New York, August 3, 2002. B&W photographs on photographic paper mounted on aluminium. Copy nº 20. Measures: 50 x 40 cm (each); 65,5 x 96 cm (frame). Mark Laita is an American photographer who, after several years dedicated to commercial photography, has presented in recent years a series of books with his personal work. Of these, I have selected a sample of two of the most interesting: "Created Equal", from 2010 and "Serpentine", from this year. He has produced award-winning commercial work for clients such as Adidas, Apple and Mercedes-Benz. Laita's first book of non-commercial work, Created Equal, is the result of an eight-year cross-country project featuring 8×10 black-and-white portraits of Americans from a wide range of cultures, occupations and backgrounds. Her work has been exhibited in galleries in the United States and Europe.

估价 2 000 - 2 500 EUR

编号 26 - PHILIPPE HALSMAN (Riga, 1906 - New York, 1979). "Flemish couple," 1950. Silver gelatin photograph. Presents the artist's stamp on the back "Copyright by Philippe Halsman". Measurements: 18 x 13 cm; 40 x 30 cm (frame). Halsman studied electrical engineering in Dresden, after being accused of the murder of his father, he spent two years in prison. Upon his release Halsman decided to move to France, where he began contributing to fashion magazines such as Vogue and soon earned a reputation as one of France's top portrait photographers. Famous for his sharp rather than soft-focused, tightly cropped images. When France was invaded by Germany, Halsman fled to Marseille. He eventually managed to obtain an American visa, with the help of his family friend Albert Einstein, whom he later photographed in 1947. Halsman had his first success in the United States when the cosmetics firm Elizabeth Arden used his image of model Constance Ford against the American flag in an advertising campaign for "Victory Red" lipstick. A year later, in 1942, he found work at Life magazine, photographing hat designs; In 1941 Halsman met surrealist artist Salvador Dalí and they began collaborating in the late 1940s. The 1948 work Dalí Atomicus explores the idea of suspension, depicting three cats flying, a bucket of water thrown and Dalí in the air. The title of the photograph is a reference to Dalí's work Leda Atomicus, which can be seen to the right of the photograph behind the two cats. Halsman and Dalí eventually published a compendium of their collaborations in the 1954 book Dali's Moustache, which features 36 different views of the artist's distinctive mustache. Another famous collaboration between the two was In Voluptas Mors, a surrealist portrait of Dalí next to a large skull, in fact a tableau vivant composed of seven nudes. In 1947 Halsman took what would become one of his most famous photos of a mournful Albert Einstein, who during the photo shoot recounted his regret over his role in the United States pursuing the atomic bomb. The photo would later be used in 1966 on a U.S. postage stamp and, in 1999, on the cover of Time magazine, when it called Einstein the "Person of the Century." In 1951, NBC commissioned Halsman to photograph several popular comedians of the era, including Milton Berle, Sid Caesar, Groucho Marx and Bob Hope. The photographer developed a philosophy of jump photography, which he called jumpology.He published Philippe Halsman's Jump Book in 1959, which contained a tongue-in-cheek discussion of jumpology and 178 photographs of famous jumpers.

估价 600 - 700 EUR

编号 27 - WILLIAM KLEIN (New York, 1926- Paris, 2022) . "Simone + Nina, Piazza di Spagna, Rome," 1960. Gelatin silver print. Signed, titled, dated in pencil (on reverse). Provenance: private collection Solomon New York. Measurements: 45 x 37 cm (image); 51 x 40,8 cm (frame). The photograph "Simone + Nina, Piazza di Spagna, Rome" by William Klein, taken in 1960, shows his innovative style and his commitment to street photography, his desire to take fashion photography out of the studio. On this occasion, he plays with the rhythmic and contrasting line of the zebra crossing. The composition is elaborate but pretends to be casual, which results in a great visual achievement: the vespa (iconic element of Italian streets), the agitation of this neuralgic square of Rome, the elegant silhouettes of Nina and SImone... compose a kind of film still. Such is the spontaneous impression and the narrative richness it conveys. William Klein was an American photographer and film director. Although born in New York and educated at the City College of New York, Klein's activity was mainly in France. He had directed a number of feature films (including the 1966 film "Qui êtes-vous, Polly Maggoo" and the anti-American satire "Mr. Freedom"). In the photographic field, Klein won the Nadar Award in 1956. In 1947, while in the army, he traveled for the first time to Paris and since then lived and worked in this city, with which he fell in love. In 1948 he enrolled at the Sorbonne University, where he was a student of Fernand Léger, among others. His best known works revolve around fashion and street photography, of which he was considered one of the creators and masters. Awards: In 1988 he was awarded the culture prize of the German photography association. In 1990 he received the International Award of the Hasselblad Foundation. In 2005 he received the PhotoEspaña award. Photography books: 1956. Life Is Good & Good for You in New York: Trance witness revels, Éditions su Seul, Paris. 1959. Rome: the City and its People, Feltrinelli, Milan. 1964. Tokyo, Zokeisha Publications, Tokyo. 1964. Moscow, Zokeisha Publications, Tokyo. 1989. Close up, Thames and Hudson, London, New York and Paris. KLEIN, W. (1990). Torino '90, Federico Motta, Milan. 1994. In and Out of Fashion, Random House, New York and London.

估价 8 000 - 10 000 EUR

编号 28 - KENNETH DUDLEY SMITH (United States, 1886 - 1965) "Fort San Juan." Photograph. Artist's stamp on the back. Measurements: 26 x 34 cm. This photograph presents the fort of San Juan in Cuba, a historical space since it was crucial during the war of Cuba. The presence of people next to the construction indicates its relevance as a historical monument and tourist interest. This presence invites the viewer to reflect on the value of the buildings.

估价 300 - 400 EUR

编号 29 - HENRI CARTIER-BRESSON (Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Hyères, France, 1932. Gelatin silver. Later impression. Signed in ink and with photographer's copyright stamp (in margin). Provenance: Bennett Private Collection, New York. The Pompidou Center has a copy of this photograph. Measurements: 25 x 36 cm (image); 31 x 41 cm (paper). Taken at the age of 24, when Henri Cartier Bresson had just bought his small Leica camera, this snapshot becomes one of his best known images and one of the most expensive auctioned by the artist. It shows the speed and mobility that this camera gave to freeze the movement and the fleeting moment with endless aesthetic possibilities. Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35 mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work.Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected member of the American Academy of Arts and Sciences.

估价 13 000 - 14 000 EUR

编号 30 - DAVID HAMILTON (London, 1933-Paris, 2016). "Young woman asleep", 1974. Photography on gelatin silver. Signed and dated. Measures: 17 x 23.5 cm. In this photograph the author focuses on the model from a high perspective. He avoids portraying the face, not only because the young woman is lying face down, but also because he leaves the model's head out of the frame. By the position and the explicit eroticism, the author offers us a revision of Coulbert's "The Origin of the World". David Hamilton was a British photographer and film director known for his photographs of young women and girls, mainly nude. His style of approach was referred to as "Hamilton Blur", Hamilton's images became part of a debate about "art or pornography". Her artistic skills began to emerge during a job in an architect's office. At the age of 20, he went to Paris, where he worked as a graphic designer for Peter Knapp of Elle magazine. After achieving recognition, he was hired by Queen magazine in London as an art director. However, Hamilton soon realised his love for Paris, and after returning there he became the art director of Printemps, the city's largest department stores'. While Hamilton was still working at Printemps, he began doing commercial photography, and the dreamy, grainy style of his images was critically acclaimed. His photographs were sought after by other magazines such as Réalités, Twen and Photo. His additional successes included dozens of photographic books; five feature films; countless magazine exhibitions; and museum and gallery exhibitions. In December 1977, Images Gallery, a studio owned by Bob Persky at 11 East 57th Street in Manhattan, showed his photographs at the same time Bilitis was launched. At the time, art critic Gene Thornton wrote in The New York Times that they revealed "the kind of ideal that was regularly expressed in the great paintings of the past". In his book, Contemporary Photographers, curator Christian Caujolle wrote that Hamilton worked with only two fixed devices: "a clear pictorial intention and a latent eroticism, apparently romantic, but asking for trouble". In addition to depicting young women, Hamilton composed photographs of flowers, men, landscapes, farm animals, pigeons and still lifes of fruit. Several of his photographs resemble oil paintings. Most of his work gives an impression of timelessness due to the absence of automobiles, modern buildings and advertisements. In 1976, Denise Couttès explained Hamilton's success by saying, "(his photographs) express escapism. People can only escape the violence and cruelty of the modern world through dreams and nostalgia". His soft-focus style came back into fashion in Vogue, Elle and other fashion magazines from 2003 onwards. The photobooks she debuted on screen in Bilitis. Later, he married Gertrude, who co-designed The Age of Innocence, but they divorced amicably.Hamilton divided his time between Saint-Tropez and Paris. He had enjoyed a renaissance in popularity since 2005. In 2006, David Hamilton, a collection of captioned photographs, and Erotic Tales, containing Hamilton's fictional short stories, was published. At the time of his death, Hamilton was working on another book, Monograph of Montenegro.

估价 800 - 1 000 EUR

编号 31 - PIERRE ET GILLES (France, collaborating since 1976). "Le petit Rimbaud", 2005. Photograph. Signed. Unique work. Measurements: 126 x 100 cm. The French artist duo Pierre et Gilles, make provocative photographs in which they construct their own scenarios and costumes by hand, often retouching the prints with paint. Gay culture and pornography are the genres in which they explore with a liberated and sardonic spirit. On this occasion, in this oval-format photograph, the cursed poet Arthur Rimbaud is reborn, reincarnated as a young man whose angelic face with a celestial gaze contrasts with his vulgar exhibitionism. The clash between the elevated poetry and the scandalous behavior that Rimbaud had in life is reread in a camp key. Pierre et Gilles are two French artists, a sentimental and artistic couple. They make unique and highly stylized photographs. Their work includes images from art history, popular culture, religion and gay culture including pornography (especially James Bidgood). The way these two artists work includes setting up complex scenographies, as they hardly work with digital post-production after the shots. Part of their way of working includes elaborate lighting and scenic works, portraying the models surrounded by floral mandorlas that often refer to religious works of the past or in idyllic and imaginary scenarios. Later, they work the photographs with acrylic paint to retouch the images and give them an original finish. Among his favorite themes are religious and mythological themes, as well as homoerotic scenes (some examples refer to the ocean and sailors, having developed a book on this subject called "Sailors and Sea"). Undoubtedly, his works can be included within the kitsch movement expressed in a conscious way, being also influenced by the world of pop culture. The celebrities photographed by Pierre et Gilles include: Amanda Lear (the cover of her 1980 album, Diamonds for Breakfast, one of his first commissions), Lio, Khaled, Étienne Daho, Marie France, Mikado, Marc Almond, Leslie Winer, Marilyn Manson, Madonna, Kylie Minogue, Erasure, Deee-Lite, The Creatures, Nina Hagen and Coco Rosie (the cover of her 2007 album, The Adventures of Ghosthorse and Stillborn); model Naomi Campbell, actresses Tilda Swinton and Catherine Deneuve, actors Jérémie Renier and Layke Anderson as well as designers Jean-Paul Gaultier and Paloma Picasso. His work is part of the collections of the Centre Pompidou in Paris.

估价 110 000 - 120 000 EUR

编号 32 - ANDY WARHOL (Pittsburgh, USA,1928-New York, USA,1987). "Lana Turner," 1985. Polaroid photograph. Unique copy. Attached certificate of provenance, indicating that the work comes from "Estate of Andy Warhol", and the "Andy Warhol Foundation for the Visual Arts". Measurements: 10,8 x 8,6 cm. Lana Turner was an American actress. Throughout her nearly 50-year career, she achieved fame as a pin-up model and film actress, as well as for her highly publicized personal life. By the mid-1940s, she was one of the highest-paid actresses in the United States and one of Metro-Goldwyn-Mayer's (MGM) biggest stars. Turner is considered a popular culture icon of Hollywood glamour and a screen legend of classic Hollywood cinema. Andrew Warhola, commonly known as Andy Warhol, was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered in his time a guru of modernity, Warhol has been one of the most influential artists of the 20th century. The son of Slovakian immigrants, he began his art studies at the Carnegie Institute of Technology between 1945 and 1949. In the latter year, already established in New York, he began his career as an advertising cartoonist for various magazines such as Vogue, Harper's Bazaar, Seventeen and The New Yorker. At the same time he painted canvases whose subject matter was based on some element or image from the everyday environment, advertising or comics. Soon he began to exhibit in various galleries. He progressively eliminated from his works any expressionist trait until he reduced the work to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its maximum level of depersonalization in 1962, when he began to use a mechanical silkscreen printing process as a working method, by means of which he systematically reproduced myths of contemporary society, the most representative examples of which are the series dedicated to Marilyn Monroe, Elvis Presley, Elizabeth Taylor or Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. This appropriationism, a constant in the works of the proponents of pop art, extended to works of art of a universal nature. By means of mass reproduction, he managed to strip the media fetishes he used of their usual referents and turn them into stereotyped icons with a merely decorative purpose. In 1963 he created the Factory, a workshop in which numerous figures from New York's underground culture gathered around him. The frivolity and extravagance that marked his way of life eventually established a coherent line between his work and his life's trajectory. He is currently represented in the most important contemporary art museums in the world, such as the MoMA, the Metropolitan and the Guggenheim in New York, the Fukoka Museum in Japan, the Kunstmuseum in Basel, the National Art Museum of the 21st century in Rome, the MUMOK in Vienna, the SMAK in Ghent and the Tate Gallery in London, as well as in the museums that bear his name in Pittsburgh and Medzilaborce (Slovakia).

估价 8 000 - 10 000 EUR

编号 33 - MASSIMO VITALI (Como, Italy, 1944). "Vecchiano". Series "Landscape with figures", ca.2000. Photograph. Edition limited to 10 copies? Measurements: 78 x 88 cm; 76 x 96 cm (frame). Vitali began capturing panoramic views of sun-drenched beaches in his native Italy, immortalizing their crowds, architecture and natural beauty. He has since expanded his scope, photographing sunbathers in Turkey, Spain and other countries The beaches provide Vitali with a wide open space with which to experiment with composition and perspective. He uses a high vantage point to obtain a panoramic view, capturing details and patterns that emerge when observing large numbers of people from a distance. At the same time, it is a sociological study linked to the leisure of crowds. Massimo Vitali is an Italian photographer based in Lucca. He studied photography at the London College of Printing. At the beginning, in the seventies, he worked as a photojournalist at the Report Agency, then as a film cameraman. In 1995 he began practicing Fine Art Photography, often on a four or five meter high podium and with large format film cameras to capture high resolution details in wide shots of places such as beaches, clubs and public spaces. His work has been exhibited at the Centro de Arte Reina Sofia in Madrid, the Guggenheim Museum in New York, the Museum of Contemporary Art in Denver, Colorado, the Fonds national d'art contemporain in Paris, the Centre Pompidou in Paris, the Musée National d'Art Moderne (France) in Paris, the Cartier Foundation in Paris, and the Museo Luigi Pecci in Prato, Italy.

估价 7 000 - 8 000 EUR

编号 34 - CANDIDA HÖFER (Germany, 1944). "Deutsche Oper am Rhein Düsseldorf," 2012. Photograph, c-print, copy 97/100. Signed and numbered on the back. Measurements: 30 x 45.5 cm; 48 x 63 cm (frame). "Deutsch Oper am Rhein Düsseldorf" is part of a project called "In Portugal", which the artist realized between 2005 and 2006. The series consists of a selection of photographs taken in public places throughout the country. Characteristic of Candida Höfer, the artist has photographed empty interiors of libraries, museums, palaces and theaters, focusing on cultural spaces free of human presence. The self-imposed thematic constraints evident in her project are both cultural and formal in nature. The baroque, modern and contemporary interiors that Höfer captures through her lens offer a "formal portrait of the social itself," as it has been defined in Europe since the Enlightenment. Candida Höfer began her career in 1968 working as a portrait photographer for various newspapers and, from 1970, as an assistant to Werner Bokelberg. Later, between 1973 and 1982, she attended the Kunstakademie Düsseldorf, first studying film with Ole John, and later photography with Bernd Becher. Together with Thomas Ruff, Höfe was Becher's first student to use color photography, showing her work in slide form. She began making her famous interiors of public buildings in 1979, still during her student period. Eventually fame would come to him thanks to his series of photographs focusing on the lives of immigrant workers in Germany. Höfer's work is part of the tradition of German photographers directly inherited from the conceptual aesthetics and the teachings of Bernd and Hilla Becher from the Kunstakademie in Düsseldorf, who readapted the original project of the New Objectivity to adopt a unique way of facing the world. Following the working method initiated by their teachers, their photographs show an almost ethnographic interest in the multiplicity of forms of representation of contemporary culture, relating in a very particular way to the scenarios where society moves and knowledge develops. Höfer's are interiors of buildings, preferably for public use such as museums, churches, theaters or opera houses, archives and libraries, which are photographed when they have ceased all activity and are empty. Specializing in large formats, her photographs are taken from a classic frontal angle, or they seek a sharp diagonal that organizes the composition. The artist tends to photograph her scenes from a high viewpoint, so that the wall in the background is centered in relation to the final image. She held her first solo exhibition in 1975 at the Konrad Fischer Gallery in Düsseldorf. Since then, Höfer's work has been exhibited in leading museums around the world, such as the Kunsthalle in Basel, Hamburg and Bern, the Louvre in Paris, the Portikus in Frankfurt am Main, the MoMA in New York, the Power Plant in Toronto, the Kunsthaus in Bregenz, the Ludwig Museum in Cologne or, in our country, at the Museum of Contemporary Art in Vigo. Likewise, in 2002 he participated in Documenta 11, and in 2003 he represented Germany at the Venice Biennale, together with Martin Kippenberger. On the other hand, between 1997 and 2000 she combined her artistic practice with teaching, which she did at the Hochschule für Gestaltung in Karlsruhe. She is currently represented at the Guggenheim Museum in New York, the Hamburger Banhof in Berlin, the Kunsthalle in Nuremberg, the Museum of Modern and Contemporary Art in Trento, the Museum of Contemporary Photography at Columbia College in Chicago, the Fundación Telefónica in Madrid and the Philadelphia Museum of Art, among other public and private collections.

估价 3 000 - 3 400 EUR

编号 35 - FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981). "Space2," Providence, Rhode Island, 1976. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 17 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.5 x 13.5 cm (image); 26.2 x 21.5 cm (paper). Francesca Woodman made this series in Providence, where she was a student, after having spent some time in Rome (on a scholarship). In the "Space2" series, Woodman photographs herself interacting with architectural spaces, often dilapidated or abandoned. She uses these spaces not only as settings, but as active elements of the composition. Walls, doors and windows become an integral part of the images, interacting with her body in symbolic and visual ways. Woodman uses spaces that evoke a sense of abandonment that contrast with her physical presence, adding a layer of tension and vulnerability to the images. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

估价 12 000 - 15 000 EUR

编号 36 - FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) "Self portrait", N3017.1. New York, 1979-80. Gelatin silver print. Later printed by Igor Bakht, stamp on verso. Signed by George and Betty Woodman, annotated "I B" "N3017.1" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.7 x 13.7 cm (image); 26 x 21 cm (paper). This photograph, in which Francesca Woodman is shown foreshortened and quartered, belongs to the last stage of the artist's short life. At the time, she was living in New York. Woodman had spent the summer of 1979 in Stanwood, Washington to visit her partner, Benjamin Moore. It was there that she created a photographic series on domestic subjects. When she returned to New York, she tried to make her work known and managed to have exhibitions at the Daniel Wolf Gallery. In the advertising and fashion industry she discovered the work of Deborah Turbeville, who was characterized by placing models in gothic-melodramatic settings, such as in desolate or dark buildings or corridors. Woodman imbibed this style, which she then reflected in her future photographs. In the summer of 1980 he experimented with his own body in order to deal with themes of something higher, according to the letter he wrote to his friend Suzanne Santoro, who lived in Rome. At this time, his artistic creation became more meticulous and he elaborated more methodically the composition, starting from previously created sketches, to work out the narrative of his images. Although she put a lot of effort into her artistic work, she was never convinced of it. What really drove her to suicide was a mediocre public response to her photography and a broken romance. Her father suggested that the reason for the suicide was a failed application for funding from the National Endowment for the Arts. She was too far ahead of her time. All this caused Francesca Woodman to fall into a depression and finally, a few days after launching her book, on January 19, 1981, she decided to take her own life at the age of only 22, jumping out of a loft window on the Lower East Side of Manhattan, New York. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

估价 7 000 - 7 500 EUR

编号 37 - RENÉ BURRI (Zurich, 1933 - 2014). "Che Guevara." Havana, Cuba, 1963. Gelatin silver. Later printing. Signed, titled and dated in ink (in the margin). Provenance: Cortez private collection, New York. Measurements: 22.5 x 32.5 cm (image); 30.5 x 40 cm (frame). René Burri did not know that he was photographing one of the characters who would become one of the most iconic martyrs of the 20th century. It shows Che Guevara smoking a Havana cigar, in an attitude that reveals a strong personality. The Swiss photographer would say of that moment: "Che's proud face is actually one of anger. I was in his office in Cuba, sent by 'Magnum' and he was fighting with an American journalist who had traveled with me. He looked like a caged tiger and didn't even notice me, so I was able to take all the photos I wanted!". The image, which would become one of Che's most iconic, was taken in the office of the then Cuban Minister of Industry. René Burri was a Swiss photographer and filmmaker. He studied at the "Zurich School of Decorative Arts" (1950-1953), where he learned to compose with light and to consider light in relation to shadows. The "Burri touch" was born from these classes, which shaped his look: the refined elegance of a composition, the subtle, open and meaningful play of the solid lines of an image. He ascribes to the "humanist photography" dominant in Paris in the fifties and there he photographs special and delicate moments, in the style of Izis and Doisneau. However, taking Cartier-Bresson as a model, Burri began to search for documentary photographs that were denser than the reflection of simple anecdotes. As Ernest Hininger's camera assistant, he also began to shoot small documentaries. In 1955 he joined the Magnum Agency and began to travel around the world, shooting portraits, landscapes, political and social reportage, architecture and industry photography, etc. In 1982 he opened the Magnum Gallery in Paris, together with Bruno Barbey. Since 1988 he has been artistic director of the magazine Schweizer Illustrierten. Among his most famous photographs are a photo of the city of São Paulo (Brazil) and a photo of Che Guevara.

估价 8 000 - 10 000 EUR

编号 38 - JEANLOUP SIEFF (Paris, 1933-2000). "Derrière Anglais, Paris, 1969. Gelatin silver. Signed and dated in ink. With artist's stamp on the back. Measurements: 30.4 x 21 cm (image); 41 x 31 cm (paper). In "Derrière Anglais, Paris", Jeanloup Sieff emphasizes the details of women's bodies, their sensuality, the elegance of their lines and their diversity. The photographer focused his production on portraits of show business personalities and politicians, but also on reportage, landscape and nude photography. A self-taught photographer, Jeanloup Sieff made his debut as a photojournalist in 1954. A year later he joined Elle magazine, where he first worked in reportage and then in fashion photography. In 1959 he began working for Réalités and Le Jardin des Modes. He also left the Magnum agency to work on his own. He was awarded the Niépce Prize in 1959 for photographic excellence. In 1961 he settled in New York, where he collaborated with Look, Esquire, and mainly Harper's Bazaar. He stayed briefly in Europe, where he worked for Twen, Vogue and Queen. In 1967 she decided to move to Paris, where she worked for Vogue, Femme, Nova and other publications. He exhibited nationally and internationally and several of his works were acquired by various museums around the world. In 1971 she received the gold medal of the museum of modern art in Skopje and in the same year she donated several collections to the National Library in Paris. His work has received international awards from Japan to the United States and is distributed in different parts of the world. Among the awards he has received are the Niépce Prize in 1959 and the Grand Prix National de Photographie in 1992. His work can currently be found in: Bibliothèque nationale de Paris (donation), Musée Réatu (Arles), Musée Sterxhof (Belgium), Musée de Toulon, Musée d'Art Moderne (Paris), Tulsa Art & Humanities Council (Tulsa, USA), Fonds national d' Art contemporain (Puteaux), FNAC Collection, MEP (Paris), Fondation Cartier d' Art Contemporain (Paris).

估价 6 500 - 7 000 EUR

编号 39 - MARC RIBOUD (Saint-Genis-Laval, 1923-Paris, 2016). "Young girl holding a flower", Washington, 1967. Gelatin silver. Later print. Signed and dedicated "to Patrick" in ink, in the margin. Provenance: Zwigoff collection, New York. Measurements: 25 x 36 cm (image); 31 x 40.5 cm (paper). This photograph of a young woman holding a flower in front of soldiers, taken in the context of a demonstration in Washington against the Vietnam War, is one of Marc Riboud's most celebrated images. The value of the scene, in addition to the emotional force it conveys, is the ability to universalize the message of hope in the midst of the outbreak of violence. Because, in any case, it was always the human side of conflicts that Riboud claimed in his photographs as a war correspondent. Thus, while taking photographs of the war in Vietnam and the Chinese cultural revolution, he also reflected aspects of daily life in cities such as Fez, Angkor, Shaanxi or Benares. Marc Riboud was a French photographer specialized in photojournalism who was part of the Magnum agency. At the outbreak of World War II he was fighting in the Resistance so he began his engineering studies at the École Centrale de Lyon in 1945. He learned photography in a self-taught way from the age of fifteen, using a Vest Pocket Kodak camera provided by his father. After working as an engineer, in 1952 he joined the Magnum agency, after meeting Henri Cartier-Bresson and Robert Capa, where he made the most important reports of his career until 1979. His first photograph published in Life in 1953 was "Painter at the Eiffel Tower". He was among the first photographers allowed to enter China in 1957 and almost the only Westerner to report on the Vietnam War from North Vietnam. He has published numerous books and has exhibited his work in many cities. In 2003 he received the Cornell Capa Award from the Infinity Awards. There have been several retrospective exhibitions of his work such as the one held in 1997 in New York and in 2005 in Paris. Exhibitions (selection since 2010): 2010 Au jardin de Krishna Riboud, Musée national des Arts Asiatiques-Guimet, Paris. 2011 I comme Image, Maison européenne de la photo, Paris. 2012 During the Heritage Days', Saint-Genis-Laval. 2014-2015 Marc Riboud - Beginning of the century, Rhône-Alpes Regional Council. 2014 De grace un geste - Richard Anacreonte Museum of Modern Art, Granville.

估价 6 000 - 8 000 EUR

编号 40 - FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both fine artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

估价 7 000 - 7 500 EUR

编号 41 - WILLIAM KLEIN (New York, 1926- Paris, 2022) . "Simone + Sophia Loren, Rome," 1960. Gelatin silver print. Signed, titled, dated in pencil (on reverse). Provenance: private collection Solomon, New York. Measurements: 46 x 34.5 cm (image); 51 x 41 cm (frame). A shopkeeper holds with both hands a large cut-out poster with a life-size image of Sophia Loren. Simone looks sideways at the grande dame of Italian cinema, and behind her float a wall clock and a traffic sign. This is a sidewalk scene in which the chaotic spontaneity of human life and the calculating eye of William Klein, one of the most "cinematic" photographers of his time , coincide. William Klein was an American photographer and film director. Although he was born in New York and educated at the City College of New York, Klein's activity developed mainly in France. He had directed a number of feature films (including the 1966 film "Qui êtes-vous, Polly Maggoo" and the anti-American satire "Mr. Freedom"). In the photographic field, Klein won the Nadar Award in 1956. In 1947, while in the army, he traveled for the first time to Paris and since then lived and worked in this city, with which he fell in love. In 1948 he enrolled at the Sorbonne University, where he was a student of Fernand Léger, among others. His best known works revolve around fashion and street photography, of which he was considered one of the creators and masters. Awards: In 1988 he was awarded the culture prize of the German photography association. In 1990 he received the International Award of the Hasselblad Foundation. In 2005 he received the PhotoEspaña award. Photography books: 1956. Life Is Good & Good for You in New York: Trance witness revels, Éditions su Seul, Paris. 1959. Rome: the City and its People, Feltrinelli, Milan. 1964. Tokyo, Zokeisha Publications, Tokyo. 1964. Moscow, Zokeisha Publications, Tokyo. 1989. Close up, Thames and Hudson, London, New York and Paris. KLEIN, W. (1990). Torino '90, Federico Motta, Milan. 1994. In and Out of Fashion, Random House, New York and London.

估价 8 000 - 10 000 EUR

编号 42 - SEBASTIAO SALGADO (Aimorés, Brazil, 1944). From the series "Brazil", 1980-1983. Gelatin silver print. Photographer's credit in the margin. Signed, dated and annotated in pencil; artist's stamp (on verso). Provenance: Coolidge private collection, New York. Measurements: 34.5 x 52 cm (image); 51 x 61 cm (paper). Sebastião Salgado's photographs taken in Brazil between 1980 and 1983, especially those that focus on the feet of rural workers, are powerful testimonies to the human connection to the land, labor, and daily struggles. Through his lens, Salgado has succeeded in capturing the dignity and humanity of his subjects, creating images that resonate deeply with the viewer and continue to have a lasting impact. Sebastião Salgado is a Brazilian socio-documentary photographer and photojournalist. He has traveled to over 100 countries for his photographic projects. Most of these have appeared in numerous publications and books. Traveling exhibitions of his work have been shown around the world. Gallery owner Hal Gould considers Salgado the greatest photographer of the early 21st century. He has received numerous international awards, including the 1998 Prince of Asturias Award for the Arts3 and the W. Eugene Smith Award for Humanitarian Photography. Eugene Smith Award for Humanitarian Photography4 in 1982. He came to the field of photography relatively late, having previously trained and worked as an economist. In his career as a photographer he started working for the Paris-based Gamma agency and then joined Magnum Photos in 1979. In 1994 he left Magnum to form his own agency Amazonas Images in Paris to represent his work. Salgado belongs to the tradition of socio-documentary photography: his work highlights the documentation of the work of people in less developed countries or in poverty. In 2001 he was nominated special representative of Unicef for his work. He works on his own long-term projects, some of which have been published in books such as "Otras Américas" or "Éxodos". Among his best known photographs are those taken in the gold mines of Serra Pelada in Brazil. He usually photographs in black and white with Leica. In 1989 he received the Hasselblad Foundation International Award. In June 2007, after receiving the Prince of Asturias Award for the Arts, there was a large anthological exhibition of his work at the PHotoEspaña international festival in Madrid, where he won the Audience Award. While Sebastião Salgado's fame grew in the world of photography, being part of the Magnum agency, his wife Lélia Wanick worked as editor of his works to publish them in books and exhibitions. In the 1990s they both decided to return to Minas Gerais, Brazil, to receive from Sebastião's family a totally devastated, eroded and dry field. In 1998 they formed the Terra Institute and with Lélia as president of the project, they began to reforest the land. With more than 4 million seeds of native species raised by them, they completely reforested the Bulcao Farm with its original flora, giving life to an emblematic and hopeful project for the whole world. Published books: GOLD (2020), Genesis (2013), Exodus (2000), The Gold Mine of Serra Pelada (1999), Terra (1997), Trabalhadores (1996), The Hand of Man (1993), Sahel: l'Homme en Détresse, Prisma Presse and Centre National de la Photographie, for Médecins sans frontières, France (1986), Other Americas (1986), Les Hmongs, Médecins sans frontières, Chêne/Hachette, Paris (1982).

估价 8 000 - 10 000 EUR

编号 43 - MARC RIBOUD (Saint-Genis-Laval, 1923-Paris, 2016). "Le peintre de la Tour Eiffel", Paris, 1953. Gelatin silver. Later print. Signed and dated in ink, in the margin. Provenance: O'Hara Collection, New York. Measurements: 37.5 x 24 cm (image); 40.8 x 30 cm (paper). "Painter at the Eiffel Tower" was the first photograph that Marc Riboud published in Life Magazine (1953). In it, we can appreciate an element that crossed Riboud's artistic work: his ability to extract the magic in any activity, no matter how adverse or anodyne it may be. For this reason, although he was a war correspondent, he is remembered above all as a humanist photographer, because it was human values in the face of adversity that he always defended. Marc Riboud was a French photographer specialized in photojournalism who was part of the Magnum agency. At the outbreak of World War II he was fighting in the Resistance so he began his engineering studies at the École Centrale de Lyon in 1945. He learned photography in a self-taught way from the age of fifteen, using a Vest Pocket Kodak camera provided by his father. After working as an engineer, in 1952 he joined the Magnum agency, after meeting Henri Cartier-Bresson and Robert Capa, where he made the most important reportages of his career until 1979. He was one of the first photographers allowed to enter China in 1957 and almost the only Westerner to report on the Vietnam War from North Vietnam. He has published numerous books and has exhibited his work in numerous cities. In 2003 he received the Cornell Capa Award from the Infinity Awards. There have been several retrospective exhibitions of his work such as the one held in 1997 in New York and in 2005 in Paris. Exhibitions (selection since 2010): 2010 Au jardin de Krishna Riboud, Musée national des Arts Asiatiques-Guimet, Paris. 2011 I comme Image, Maison européenne de la photo, Paris. 2012 During the Heritage Days', Saint-Genis-Laval. 2014-2015 Marc Riboud - Beginning of the century, Rhône-Alpes Regional Council. 2014 De grace un geste - Richard Anacreonte Museum of Modern Art, Granville.

估价 6 000 - 8 000 EUR

编号 44 - ANDRÉ KERTÉSZ (Budapest, 1894-New York, 1985). "Satiric dancer". Paris, 1926. Gelatin silver, later printing. Signed, titled and dated in pencil (on verso). Provenance: From the private collection of Schroeder New Jersey. Measurements: 20.6 x 25.5 cm (image); 21 x 26 cm (paper). André Kertész had a superb appreciation for the camera's ability to capture dance and people in motion. The one lying on the sofa in this photograph in a completely anti-archetypal pose is the dancer and cabaret performer Magda Förstner, whom Kertész had invited to the studio specifically for the shoot. The image was taken in the workshop of sculptor István Beöthy, as indicated by the sculptural bust next to the armchair, which serves as the model's inspiration. Kertész himself narrates the situation as, "I said to her, 'Do something in the spirit of the studio corner,' and she began to move on the couch. She just made a movement. I took only two photographs... It's wonderful to photograph people in motion. You don't need to shoot hundreds of rolls of film like you do today. It's about capturing the right moment. The moment when something transforms into something else." Photographer André Kertész was known for his innovative approaches to composition and camera angles, although his unique style initially hindered his recognition in the early stages of his career. Self-taught, his early work was published primarily in magazines, which served as an important platform during that time. After fighting in World War I, he moved to Paris, where he worked for VU, France's first illustrated magazine. He became involved with young immigrant artists and the Dada movement, winning critical acclaim and commercial success. In 1936 he emigrated to the United States where he had his solo exhibition in New York at the PM Gallery and worked briefly for the Keystone agency. There he turned down an offer to work for Vogue, feeling it was not right for him. Instead, he chose to work for Life magazine. His New York period was distinguished by his taking photographs from the window of his apartment, immortalizing moments of everyday life always under the conviction that "Everything is a subject. Every subject has a rhythm. To feel it is the raison d'être. Photography is a fixed moment of such a raison d'être, which lives in itself." In 1963, he returned to Paris and took more than 2,000 black and white photographs and nearly 500 slides that capture the essence of the city of Montmartre, the banks of the Seine, its gardens and parks.

估价 4 500 - 5 000 EUR

编号 45 - HENRI CARTIER-BRESSON (Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Matisse", Vence, France, 1944. Gelatin silver, later printing. Signed in ink in the margin and with embossed photographer's copyright stamp (in the margin). Provenance: Reuben private collection, Chicago. Measurements: 25.3 x 37 cm (image); 31 x 40.8 cm (paper). Henri Cartier-Bresson immortalized French painter Henri Matisse in villa "Le Rêve," his home in the Alpes-Maritimes, when publisher Pierre Braun asked him to photograph writers and artists for a book project that never materialized. At the time the Fauvist painter was 70 years old and, having undergone surgery years earlier, his condition forced him to be prostrate in a chair or bed, as seen in the tendered snapshot. In Le Rêve Matisse drew and painted the white doves that flitted around his room, as well as his regular models, Micaela Avogadro and Lydia Delectorskaya. The Fauvist also spent time in his Nice apartment, where Cartier-Bresson also photographed him. Bresson himself said of these visits to the villa, "When I went to see Matisse, I sat in a corner, I didn't move, we didn't talk. It was as if we didn't exist." Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35 mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work. Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected member of the American Academy of Arts and Sciences.

估价 8 000 - 8 500 EUR

编号 46 - LEWIS MORLEY (Hong Kong, 1925-Sidney, 2013). "Christine Keeler," 1963. Gelatin silver. Signed, titled and dated in ink (in the margin). Provenance: Bennett Private Collection, New York. Measurements: 31.5 x 25 cm (image); 36 x 28.9 cm (paper). After cabaret performer and dancer Christine Keeler had an affair with a minister in Harold Macmillan's government, which brought the Conservative Party into disrepute in what became known as the Profumo affair, she was called to do a photo shoot at Lewis Morley's studio. The events took place because a film production company intended to make a movie about the scandal and needed some publicity photographs. Although Keeler had initially agreed to be photographed nude, when she arrived at the studio she was reluctant to do so. For this reason, Lewis Morley began the photo shoot by capturing the model with her clothes on, but the film company's representatives insisted that she pose nude. The photographer, sensing Keeler's discomfort, had the others present leave and, turning his back to her while Keeler undressed, suggested that she pose on the studio chair placed upside down. Lewis Morley began his career with assignments for magazines such as Tatler and was a successful theater photographer for over 100 West End productions. His publicity photographs for Beyond The Fringe magazine (1961) included a study of the cast Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller, which was used for the cover of the show's best-selling LP. In 1971 he moved to Sydney, where he worked on magazines such as Belle and with interior designers and stylists such as Babette Hayes and Charmaine Solomon. In 1989 he collaborated with photography curator Terence Pepper in staging his first museum retrospective at the National Portrait Gallery in London and subsequently donated all the images printed for the exhibition as part of a larger archive of his work. His first autobiography, Black and White Lies, was published in 1992. In 2003, a film about his life was released and an exhibition entitled Myself and Eye was held at the National Portrait Gallery in Canberra. In 2006, the Art Gallery of New South Wales presented a comprehensive exhibition showcasing 50 years of his work. Entitled Lewis Morley: 50 Years of Photography, the exhibition included 150 of his works spanning fashion, theater and reportage, many of which had never been seen before. After his death his archive was subsequently donated to the National Media Museum in Bradford, England.

估价 8 000 - 8 500 EUR

编号 47 - HELEN LEVITT (New York, 1913-2009). "NYC. Masked children on stop", New York, 1940. Gelatin silver, later print. Signed, dated and inscribed "N.Y.C." in pencil (on reverse). Provenance: From the private collection of Schroeder New Jersey. Measurements: 19.4 x 27.7 cm (image); 28 x 34.8 cm (paper). Helen Levitt is considered one of the most relevant photographers of the 20th century and one of the forerunners of today's independent cinema. She belongs to the so-called New York school, which defended a direct and aseptic street photography. She was a student of Walker Evans and Cartier-Bresson, Ben Shanhn and the circle of the Photo League of New York, from whom she learned that search for the instant. Her way of capturing gestures, bodies in movement, the language of the street, have turned her work almost into an anthropological study. In 1939 Helen Levitt's photos were already published in magazines such as Fortune, US Camera, Minicam and PM. Her best known work is in black and white and in the documentary genre, putting her lens on the streets and the inhabitants of the city, especially the children. Proof of this is the exhibition "Helen Lewitt: Photographs of Children" that MoMA in New York dedicated to her in 1943. During her trip to Mexico in 1941 she also portrayed street children. In the 1970s, Levitt photographed the streets of New York with color slides and implemented it into her own language as another resource. It should be noted that he always had a vocation for filmmaking: it was in the 1940s when he made his first documentary film projects, under the orders of the Spanish film director Luis Buñuel, who was exiled in the United States because of the Spanish Civil War. In 1948 he directed the film "In the Street" and "The Quiet One".

估价 7 000 - 7 500 EUR

编号 48 - HENRI CARTIER-BRESSON (Chanteloup-en-Brie, France, 1908- Céreste, France, 2004). "Jardins du Palais Royal, Paris, 1959. Gelatin silver, later printing. Signed and annotated "pour Tuto" in ink and photographer's copyright stamp in relief (in the margin). Provenance: Reuben private collection, Chicago. The Pompidou Center has a copy of this photograph. Measurements: 37 x 25 cm (image); 41 x 31 cm (plate). Thanks to his hand-held Leica camera, Henri Cartier-Bresson was able to move with ease as he wandered through new cities and foreign places, taking images that combined his bohemian spontaneity with his painterly sense of composition. This modus operandi became known as "the decisive moment," a famous concept that would influence photographers throughout the 20th century. Henri Cartier-Bresson was a French artist and humanist photographer considered a master of photography and one of the first users of 35mm film. He pioneered the genre of street photography and considered photography as capturing a decisive moment. His first major reportage trip took him to the Ivory Coast in 1931.Photographs from his many travels quickly found a forum in magazines and exhibitions. He also gained experience in New York with Paul Strand. In the late summer of 1937, before the battle of Belchite, he traveled to Spain with Herbert Kline, former editor of New Theater magazine, and cameraman Jacques Lemare to shoot a documentary on the American Medical Bureau during the Spanish Civil War. They filmed at Villa Paz, the International Brigades hospital in Saelices, not far from Madrid, and on the coast of Valencia to document the recovery of wounded volunteers in the villas of Benicàssim. They also visited the Abraham Lincoln Brigade in Quinto, near Zaragoza, and shot the film With the Abraham Lincoln Brigade in Spain. From 1937 to 1939, Cartier-Bresson was assistant director on three films by Jean Renoir, including The Rules of the Game. In 1940, he spent nearly three years as a prisoner of war in Germany. After it was erroneously assumed that he had died in the war, the Museum of Modern Art in New York dedicated a major "posthumous" retrospective to Cartier-Bresson in 1947. That same year, together with Robert Capa, David Seymour and George Rodger, he founded the Magnum Photos agency in New York with the aim of preserving the rights to the photographers' work.Cartier-Bresson was the first photographer allowed to exhibit at the Louvre in Paris in 1955. His photographs were collected and published in Images à la sauvette (1952, Images in passing), D'une Chine à l'autre (1968, China yesterday and today) and Moscou (1955, Moscow), among others. Cartier-Bresson stopped taking professional photographs in 1972 and devoted himself intensely to the art of drawing. In 1974 he was elected member of the American Academy of Arts and Sciences.

估价 12 000 - 13 000 EUR

编号 49 - ROBERT FRANK (Zurich 1924 - Nova Scotia 2019) "Rainy day", c. 1955. Gelatin silver on Agfa paper. Signed in ink in lower left corner. Provenance: Christie's Paris, Photographies 10/11/2020, Lot 107. Measurements: 41 x 30 cm; 66,5 x 58 cm (frame). Robert Frank was a Swiss photographer and documentary filmmaker, who also became an American citizen. His most notable work is the 1958 book The Americans, which earned Frank comparisons to De Tocqueville because his photography provided a fresh and nuanced view of American society from the outside. Critic Sean O'Hagan, wrote in The Guardian in 2014, that The Americans "changed the nature of photography, what it could say and how it could say it. It remains perhaps the most influential photography book of the 20th century." Frank later explored other fields such as film and video and experimented with photo manipulation and photomontage. Robert Frank was born in Zurich, Switzerland, into a Jewish family. Frank and his family remained safe in Switzerland during World War II. He trained with several photographers and graphic designers before creating his first handmade photography book, 40 Photos, in 1946. Frank emigrated to the United States in 1947 and got a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, Camera magazine's new editor, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener's photographs taken at high-class shows and in factories, along with the work of the 25-year-old Frank, who had just returned to his native Switzerland after two years abroad. He soon left for South America and Europe and created another book of handmade photographs he took in Peru. He returned to the United States in 1950 where he met Edward Steichen, and participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA). Although initially optimistic about American society and culture, Frank's perspective quickly changed when confronted with the fast pace of American life, which he saw as an overemphasis on money. It was then that his images began to show America as an often desolate and lonely place. Frank's own dissatisfaction with the control that editors exerted over his work also undoubtedly influenced his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines such as McCall's, Vogue and Fortune. By associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has called the New York School of photographers during the 1940s and 1950s. In 1955, Frank achieved further recognition with Edward Steichen's inclusion of seven of his photographs in the Museum of Modern Art exhibition. In 1955 Frank was awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation to travel the United States and photograph society. The cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family with him for part of his series of road trips over the next two years, during which time he took 28,000 photos of which only 83 were selected by him for publication in The Americans. He had his first solo show at the Art Institute of Chicago, and a year later exhibited a second time at MoMA. In 1972 the Kunsthaus Zürich held a major retrospective of his work.

估价 7 000 - 8 000 EUR

编号 50 - SEBASTIAO SALGADO (Aimorés, Brazil, 1944). "A leopard (Panthera pardus) in the Barab River Valley". Damaraland, Namibia, 2005. Gelatin silver print. Photographer's credit embossed (in margin). Signed, dated and annotated in pencil; artist's stamp (on verso). Provenance: Claudio Poleschi Arte Contemporanea Gallery, San Marino, Italy. Measurements: 37,4 x 51 cm (image); 50,8 x 61 cm (paper). This is an image of subjugating beauty and elegance. The powerful majesty of the leopard enhanced by the play of reflections between the water and the night sky introduce us to a sublime nature that is barely hinted at with the minimal elements. It is perhaps one of the least descriptive and most experimental photographs by Sebastiao Salgado, who on this occasion deviates from the documentary rawness of his social photographs to address another of his most pressing concerns: environmental conservation. In several series, Salgado has used his art to draw attention to the challenges facing our planet. Sebastião Salgado is a Brazilian socio-documentary photographer and photojournalist. He has traveled to more than 100 countries for his photographic projects. Most of these have appeared in numerous publications and books. Traveling exhibitions of his work have been shown around the world. Gallery owner Hal Gould considers Salgado the greatest photographer of the early 21st century. He has received numerous international awards, including the 1998 Prince of Asturias Award for the Arts3 and the W. Eugene Smith Award for Humanitarian Photography. Eugene Smith Award for Humanitarian Photography4 in 1982. He came to the field of photography relatively late, having previously trained and worked as an economist. In his career as a photographer he started working for the Paris-based Gamma agency and then joined Magnum Photos in 1979. In 1994 he left Magnum to form his own agency Amazonas Images in Paris to represent his work. Salgado belongs to the tradition of socio-documentary photography: his work highlights the documentation of the work of people in less developed countries or in poverty. In 2001 he was nominated as a special representative of Unicef for his work. He works on his own long-term projects, some of which have been published in books such as "Otras Américas" or "Éxodos". Among his best known photographs are those taken in the gold mines of Serra Pelada in Brazil. He usually photographs in black and white with Leica. In 1989 he received the Hasselblad Foundation International Award. In June 2007, after receiving the Prince of Asturias Award for the Arts, there was a large anthological exhibition of his work at the PHotoEspaña international festival in Madrid, where he won the Audience Award. While Sebastião Salgado's fame grew in the world of photography, being part of the Magnum agency, his wife Lélia Wanick worked as editor of his works to publish them in books and exhibitions. In the 1990s they both decided to return to Minas Gerais, Brazil, to receive from Sebastião's family a totally devastated, eroded and dry field. In 1998 they formed the Terra Institute and with Lélia as president of the project, they began to reforest the land. With more than 4 million seeds of native species raised by them, they completely reforested the Bulcao Farm with its original flora, giving life to an emblematic and hopeful project for the whole world. Published books: GOLD (2020), Genesis (2013), Exodus (2000), The Gold Mine of Serra Pelada (1999), Terra (1997), Trabalhadores (1996), The Hand of Man (1993), Sahel: l'Homme en Détresse, Prisma Presse and Centre National de la Photographie, for Médecins sans frontières, France (1986), Other Americas (1986), Les Hmongs, Médecins sans frontières, Chêne/Hachette, Paris (1982).

估价 8 000 - 10 000 EUR

编号 51 - HELMUT NEWTON (Germany, 1920- California, 2004). "Sylvia Examining Her High Heeled Shoes in My Studio," Paris, 1981. Gelatin silver. Signed, titled, dated and annotated in pencil. Provenance: Maurizio Siniscaldo Gallery, Naples, Italy. Measurements: 54,6 x 40 cm (image). "Sylvia examining her high heels in my studio" is a photograph that reflects many of the themes that define Helmut Newton's way of working: the carefully crafted composition (with the light of a street lamp filtering in from the darkness of the urban night contrasts with the clarity of the nude and the window frame), the fetish element of the stiletto-heeled shoes that Sylvia holds without mannerism.... Newton often explores themes of power, control and fetishism in her work. In this image, the woman's introspective countenance (oblivious to the gaze of male desire) and the naturalness of her posture empower her, rather than reducing her to the stereotypical female object. In doing so, Newton redefines the parameters of erotic and fashion photography: provocation, anti-voyeurism and female empowerment are his attributes. His women do not appear languid as odalisques but defiant, unabashed and without admitting easy voyeurism. In photographs such as this one, she explores the boundaries between the intimate and the public, while carefully planning her compositions to maximize visual impact. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

估价 9 000 - 12 000 EUR

编号 52 - HELMUT NEWTON (Germany, 1920- California, 2004). "Domestic Nude 7, Los Angeles, 1992. Gelatin silver, copy 9/15. Signed, titled, dated and numbered in pencil. Provenance: Maurizio Siniscaldo Gallery, Naples, Italy. Measurements: 45,2 x 36,2 cm (image). The series "Domestic Nude" that Helmut Newton carried out in Los Angeles in 1992 represented another turn of the screw for artistic and fashion photography. In it, he places women in provocative poses and in unusual domestic spaces: in the doghouse, leaning against the refrigerator.... They are not shown languidly as odalisques but empowered and defiant, without modesty and without admitting easy voyeurism. In "Domestic Nude" she explores the boundaries between the private and the public, between women as subject and object. Newton also carefully plans her compositions to maximize visual impact. Newton was born in Berlin, attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he bought his first camera, he worked for German photographer Yva (Elsie Neuländer Simon) from 1936.The increasingly oppressive restrictions imposed on Jews by the Nuremberg laws caused his father to lose control of the factory; he was briefly interned in a concentration camp on Kristallnacht, , which eventually forced the family to leave Germany. Newton's parents fled to Argentina. Finally, arriving in Singapore, he found he could remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia aboard the Queen Mary, arriving in Sydney on September 27, 1940. He was released from internment in 1942 and worked briefly as a fruit picker in northern Victoria. In April 1942, he enlisted in the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. That same year, Newton set up a studio on Flinders Lane in Melbourne and worked in fashion, theater and industrial photography during the postwar period. He shared his first joint exhibition in May 1953 with Wolfgang Sievers,The 'New Visions in Photography' exhibition was shown at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton became associated with Henry Talbot, a German Jew who had also interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed 'Helmut Newton and Henry Talbot'. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to work with Australian Vogue. Newton and his wife finally settled in Paris in 1961. His images appeared in magazines such as the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic and stylized scenes, often with fetishistic subtexts. In 1980 he created the "Big Nudes" series. His "Nude and Clothed" portfolio followed, and in 1992 "Domestic Nudes," which marked the pinnacle of his erotic-urban style, all of these series supported the dexterity of his technical skills. Newton also worked on more fantastical portraits and studies. He did a series of illustrations for Playboy, including illustrations of Nastassja Kinski and Kristine DeBell.

估价 10 000 - 15 000 EUR

编号 53 - WILLIAM KLEIN (New York, 1926- Paris, 2022) . "Model + Graffiti (photo décor)". Paris (Vogue), 1961. Gelatin silver print. Signed, titled, dated in pencil (on reverse). Provenance: Claudio Poleschi Arte Contemporanea Gallery, San Marino, Italy. Measurements: 39.5 x 30.8 cm (image). William Klein developed an innovative and experimental style in the field of fashion photography, as we see in this photograph he took in Paris in 1961 for Vogue magazine. The woman's dress partially mimics the graffiti wall through a play of light and texture. In contrast, the fine shoes and gold earrings create an interesting visual tension. Klein explores the contrast between the exclusivist glamour of fashion and the rawness of street graffiti using artistic techniques that expand the grammar of fashion photography. In the 1960s, fashion photography was dominated by polished, carefully composed images. Klein broke with these conventions by introducing a sense of spontaneity and realism. His photographic work was influenced by art, urban culture and the language of film (in whose field he also developed). Seeking the fleeting and the authentic, he took photography out of the studio and placed it in real, and often chaotic, settings. William Klein was an American photographer and film director. Although he was born in New York and educated at City College there, Klein's work was primarily in France. He had directed a number of feature films (including the 1966 film "Qui êtes-vous, Polly Maggoo" and the anti-American satire "Mr. Freedom"). In the photographic field, Klein won the Nadar Award in 1956. In 1947, while in the army, he traveled for the first time to Paris and since then lived and worked in this city, with which he fell in love. In 1948 he enrolled at the Sorbonne University, where he was a student of Fernand Léger, among others. His best known works revolve around fashion and street photography, of which he was considered one of the creators and masters. Awards: In 1988 he was awarded the culture prize of the German photography association. In 1990 he received the International Award of the Hasselblad Foundation. In 2005 he received the PhotoEspaña award. Photography books: 1956. Life Is Good & Good for You in New York: Trance witness revels, Éditions su Seul, Paris. 1959. Rome: the City and its People, Feltrinelli, Milan. 1964. Tokyo, Zokeisha Publications, Tokyo. 1964. Moscow, Zokeisha Publications, Tokyo. 1989. Close up, Thames and Hudson, London, New York and Paris. KLEIN, W. (1990). Torino '90, Federico Motta, Milan. 1994. In and Out of Fashion, Random House, New York and London.

估价 12 000 - 16 000 EUR

编号 54 - EDWARD STEICHEN (Luxembourg, 1879 - West Redding, Connecticut, 1973). "The sea", 1904. Platinum photograph mounted on original black paper on cream paper (original). Presents label on the back of German collection (Hamburg 1971). Signed and dated in the lower right corner. Measurements: 13 x 17,5 cm; 29 x 37 cm (frame). Edward Steichen was a key figure in 20th century photography, directing its development as a leading photographer and influential curator. Steichen arrived in the United States in 1881. He painted and worked in lithography, before turning to photography in 1896, and first exhibited photographs at the Philadelphia Salon in 1899. Steichen became a naturalized citizen in 1900 and, after exhibiting at the Chicago Salon, received the support of Clarence White, who introduced him to Alfred Stieglitz. Steichen practiced painting in Paris intermittently between 1900 and 1922; there he met Rodin and was in contact with modern art movements, so he was able to advise Stieglitz on the selection of exhibitions. In 1901 he was elected a member of the Linked Ring Brotherhood in London, and in 1902 he co-founded the Photo-Secession and designed the first cover of Camera Work, in which his work was often published. In New York, Steichen helped Stieglitz establish the Small Galleries of the Photo-Secession, which became known as "291," and in 1910 he participated in the International Exhibition of Pictorial Photography in Buffalo. During World War I, he directed aerial photography for the Army Expeditionary Forces. Shortly thereafter he gave up painting, along with the vestiges of Pictorialism, and adopted a modernist style. He was chief photographer for Condé Nast from 1923 to 1938, while doing freelance advertising work. Commissioned as a lieutenant commander in 1942, Steichen was appointed director of the U.S. Naval Photographic Institute in 1945; there he supervised combat photography and organized the Road to Victory and Power in the Pacific exhibitions. He was director of photography at the Museum of Modern Art from 1947 to 1962, and was responsible for more than fifty exhibitions, including The Family of Man in 1955, the most popular exhibition in the history of photography. Steichen received countless awards and honors, including the title of Chevalier of the French Legion of Honor, an honorary fellowship of the Royal Photographic Society, the Distinguished Service Medal, the Art Directors Club of New York Award, the U.S. Camera Achievement Award for "Most Outstanding Individual Contribution to Photography" (1949), and the Presidential Medal of Freedom (1963). Major exhibitions of his work have been held at the Baltimore Museum of Art, the Museum of Modern Art, the Bibliothèque Nationale de Paris, the ICP and the George Eastman House.

估价 2 500 - 3 000 EUR

编号 55 - PHILIPPE HALSMAN (Riga, 1906 - New York, 1979). "Dali's Moustache," c. 1954. Silver gelatin photograph. Features slight corner creases that do not affect the work. Signed in pencil and stamped on verso. "Copyright by Philippe Halsman". Measurements: 20 x 16 cm: 40 x 44 cm (frame). Halsman studied electrical engineering in Dresden, after being accused of the murder of his father, he spent two years in prison. Upon his release Halsman decided to move to France, where he began contributing to fashion magazines such as Vogue and soon earned a reputation as one of the best portrait photographers in France. Famous for his sharp rather than soft-focused, tightly cropped images. When France was invaded by Germany, Halsman fled to Marseille. He eventually managed to obtain an American visa, with the help of his family friend Albert Einstein, whom he later photographed in 1947. Halsman had his first success in the United States when the cosmetics firm Elizabeth Arden used his image of model Constance Ford against the American flag in an advertising campaign for "Victory Red" lipstick. A year later, in 1942, he found work at Life magazine, photographing hat designs; In 1941 Halsman met surrealist artist Salvador Dalí and they began collaborating in the late 1940s. The 1948 work Dalí Atomicus explores the idea of suspension, depicting three cats flying, a bucket of water thrown and Dalí in the air. The title of the photograph is a reference to Dalí's work Leda Atomicus, which can be seen to the right of the photograph behind the two cats. Halsman and Dalí eventually published a compendium of their collaborations in the 1954 book Dali's Moustache, which features 36 different views of the artist's distinctive mustache. Another famous collaboration between the two was In Voluptas Mors, a surrealist portrait of Dalí next to a large skull, in fact a tableau vivant composed of seven nudes. In 1947 Halsman took what would become one of his most famous photos of a mournful Albert Einstein, who during the photo shoot recounted his regret over his role in the United States pursuing the atomic bomb. The photo would later be used in 1966 on a U.S. postage stamp and, in 1999, on the cover of Time magazine, when it called Einstein the "Person of the Century." In 1951, NBC commissioned Halsman to photograph several popular comedians of the era, including Milton Berle, Sid Caesar, Groucho Marx and Bob Hope. The photographer developed a philosophy of jump photography, which he called jumpology.He published Philippe Halsman's Jump Book in 1959, which contained a tongue-in-cheek discussion of jumpology and 178 photographs of famous jumpers. It presents slight folds in the corners that do not affect the work.

估价 2 500 - 3 000 EUR

编号 56 - WEEGEE; ARTHUR FELLIG (Ukraine, 1899- 1968). "Circus Biker," c. 1943. Gelatin silver photograph. Slight damage to the frame. Presents stamp on the back "Credit photo by Weegee-The Famous". Measurements: 18 x 13,5 cm; 40x 30,5 cm (frame). Arthur Fellig known by his pseudonym Weegee, was a photographer and photojournalist, praised for his raw photographic style, which presented the street scene in New York City, usually portrayed in black and white. Weegee worked on Manhattan's Lower East Side as a press photographer during the 1930s and 1940s. He developed his signature style by following the city's emergency services and documenting much of their activity. For that reason his compositions depict realistic scenes of urban life, crime, and death. Weegee published books on photography and also worked in film, initially making his own short films and later collaborating with filmmakers such as Jack Donohue and Stanley Kubrick. One of his first jobs was in the photo lab of The New York Times Later, during his employment with Acme Newspictures, his skill and ingenuity in developing live prints earned him the name "Mr. Squeegee." Most of his photographs were taken with equipment and aesthetic guidelines typical of press photographers. He was a self-taught photographer with no formal training. Some of his photos reflect a juxtaposition between the representation of people from high society, along with others who do not belong to the same social circle. Weege's work is widely recognized nationally and internationally and his works are in important private and public collections. In addition, his work continues to generate interest after his death, an example of this was the exhibition Weegee's New York, held in 2009 at the Fundación Telefónica in Madrid. It has slight damage to the frame.

估价 500 - 600 EUR

编号 57 - PHILIPPE HALSMAN (Riga, 1906 - New York, 1979). "Untitled (Reflection)," c. 1940. Silver gelatin photograph. Stamped on the back "Copyright by Philippe Halsman". Measurements: 20.5 x 21 cm; 31.5 x 29 cm (frame). Halsman studied electrical engineering in Dresden, after being accused of the murder of his father, he spent two years in prison. Upon his release Halsman decided to move to France, where he began contributing to fashion magazines such as Vogue and soon earned a reputation as one of France's top portrait photographers. Famous for his sharp rather than soft-focus, tightly cropped images. When France was invaded by Germany, Halsman fled to Marseille. He eventually managed to obtain an American visa, with the help of his family friend Albert Einstein, whom he later photographed in 1947. Halsman had his first success in the United States when the cosmetics firm Elizabeth Arden used his image of model Constance Ford against the American flag in an advertising campaign for "Victory Red" lipstick. A year later, in 1942, he found work at Life magazine, photographing hat designs; In 1941 Halsman met surrealist artist Salvador Dalí and they began collaborating in the late 1940s. The 1948 work Dalí Atomicus explores the idea of suspension, depicting three cats flying, a bucket of water thrown and Dalí in the air. The title of the photograph is a reference to Dalí's work Leda Atomicus, which can be seen to the right of the photograph behind the two cats. Halsman and Dalí eventually published a compendium of their collaborations in the 1954 book Dali's Moustache, which features 36 different views of the artist's distinctive mustache. Another famous collaboration between the two was In Voluptas Mors, a surrealist portrait of Dalí next to a large skull, in fact a tableau vivant composed of seven nudes. In 1947 Halsman took what would become one of his most famous photos of a mournful Albert Einstein, who during the photo shoot recounted his regret over his role in the United States pursuing the atomic bomb. The photo would later be used in 1966 on a U.S. postage stamp and, in 1999, on the cover of Time magazine, when it called Einstein the "Person of the Century." In 1951, NBC commissioned Halsman to photograph several popular comedians of the era, including Milton Berle, Sid Caesar, Groucho Marx and Bob Hope. The photographer developed a philosophy of jump photography, which he called jumpology.He published Philippe Halsman's Jump Book in 1959, which contained a tongue-in-cheek discussion of jumpology and 178 photographs of famous jumpers.

估价 800 - 1 000 EUR

编号 58 - AI WEIWEI (Beijing, 1957). "Nude woman". Photograph on Fuji paper. Open edition. Signed in the lower right area. Measurements: 12,5 x 18 cm. Ai Weiwei is an activist and contemporary artist. Ai collaborated with Swiss architects Herzog & de Meuron as an artistic advisor on the Beijing National Stadium for the 2008 Olympic Games. As an activist, he has consistently criticized the Chinese government for its stance on democracy and human rights. He has also investigated government corruption and cover-ups in China, particularly the case of the collapse of schools in Sichuan after the 2008 earthquake. On April 3, 2011, he was detained at Beijing International Airport, held for 81 days without official charges, and officials alluded all to "economic crimes." In 1978, Ai enrolled at the Beijing Film Academy and studied animation. In 1978, he was one of the founders of the avant-garde group "Stars" with avant garde influences, along with Ma Desheng, Wang Keping, Huang Rui, Li Shuang, Zhong Acheng and Qu Leilei. The group disbanded in 1983, however Ai participated regularly in exhibitions held by the group, such as The Stars: Ten Years in 1989 (Hanart Gallery, Hong Kong and Taipei) and a retrospective exhibition in Beijing in 2007: Origin Point (now Beijing Museum of Art). In 2014, Ai Weiwei made an installation called Illumination set in a former prison hospital, intended to look and feel like a horror movie. For this work, In 1993, Ai returned to China after his father became ill. He helped establish the experimental artists' group "Beijing East Village" and co-published a series of three books on this new generation with Chinese curator Feng Boyi: Black Cover Book (1994), White Cover Book (1995) and Gray Cover Book (1999). In 1999 he moved to Caochangdi, northeast of Beijing, and built a studio house, his first architectural project. Due to his interest in architecture, he founded FALSA Design Studio in 2003. In 2000, he co-curated the art exhibition "Fuck Off" with curator Feng Boyi in Shanghai, China.

估价 300 - 400 EUR

编号 59 - LARRY CLARK (Tulsa, Oklahoma; 1943). "Nude Woman." Photograph on Fuji paper. Presents Gallery stamp on the back. Measurements: 15 x 10 cm. Lawrence Donald Clark (born January 19, 1943) is an American film director, photographer, writer and film producer best known for his controversial teen film Kids (1995) and his photography book Tulsa (1971). His work focuses mainly on young people who use illegal drugs, have sex with minors and are violent, and who are part of a specific subculture, such as surfing, punk rock or skateboarding.

估价 300 - 350 EUR

编号 60 - PACO PEREGRÍN (Almería, 1976). "Scorpio", 2015. Digital photograph mounted aluminum. Certificate of authenticity issued by the artist will be delivered. The work is published on the artist's website. -Bibliography: Fucking Young! magazine nº 6 yCatalog of the exhibition "Artificio". Andalusian Center of Photography (CAF), 2018. -Exhibitions: Andalusian Center of Photography (CAF). Solo exhibition "Artificio", from June 1 to July 15, 2018.Measurements: 50 x 40 cm; 51 x 41 cm (frame). Paco Peregrín is a prominent Andalusian photographer, visual artist and creative director, based in Madrid, who works internationally in the world of art, advertising and fashion (he has realized and directed high-level projects for global brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Lancôme, Shiseido, Marie Dalgar, L'Occitane, La Rinascente, Vögele Shoes, Adidas, Nike, etc.). He publishes in prestigious magazines such as Vogue (IT, DE, ES), Harper's Bazaar (US, Russia, Spain and Vietnam), VMAN, L'Officiel, Vanity Fair, ELLE, Marie Claire, Grazia, Cosmopolitan, Glamour, Dsection, Fucking Young!, Vision, Zink!, Neo2, Yo Dona, Vanidad, Schön!, Noi.se, Allure, NYLON, etc. He graduated in Fine Arts from the University of Seville and furthered his training at the International Center of Photography (New York), Central Saint Martins College of Art and Design (London), Universidad Complutense de Madrid, Universidad de Santiago de Compostela... He has received important grants (Pilar Juncosa and Sotheby's, Talens, Universidad Complutense, Ayuntamiento de Sevilla, Proyectos de Fotografía Caja San Fernando, Centro Andaluz de la Fotografía, etc) and his audiovisual work has been awarded in international festivals such as the Chicago Fashion Film Festival, the London Fashion Film Festival, the International Fashion Film Festival Brussels and the Global Short Film Awards Festival in Cannes. His work is part of important art collections (Centro Andaluz de la Fotografía, Comunidad de Madrid, Instituto Andaluz de la Juventud, Universidad de Sevilla, Fundación Talens, Colección de Arte Contemporáneo Delegación de Cultura de Doña Mencía, Centro Andaluz de Arte Seriado...) and is included in numerous books such as "Artificio" (Centro Andaluz de la Fotografía, Editorial Universidad de Almería), "Facing", 6th Crossover Art Project (Marie Dalgar, Beijing), "Super-Modified: The Behance Book of Creative Work" (Gestalten), "Diccionario de fotógrafos españoles (La Fábrica & Acción Cultural Española), "Otherworldly" (Gestalten), "New Fashion Photography" (Prestel), "PALETTE 03: Gold & Silver, New Metallic Graphics" (Victionary), "PALETTE 02: Multicolour, New Rainbow-hued Graphics" (Victionary), "Cazadores de Tendencias: los nombres esenciales de Moda Española" (Lunwerg), "STAND BY_012. Guía de Fotografía Andaluza Actual" (Valentín de Madariaga Foundation & MP Corporation), "Hair'em Scare'em" (Gestalten) or "Arte desde Andalucía para el siglo XXI catalogación monográfica ilustrada del joven arte andaluz" (Consejería de Cultura de la Junta de Andalucía). I have exhibited in galleries in New York, Beijing, Paris, Barcelona, Madrid, Berlin, Seville, San Sebastian, Valencia, Caceres, Almeria .... and in museums such as the Centro Andaluz de Arte Contemporáneo (Seville), the Museo Cristóbal Balenciaga (Getaria, Gipuzkoa), the Museo de Artes y Tradiciones de Sevilla, CaixaForum Sevilla, the Centro Andaluz de la Fotografía, ARTSevilla, Sala de Exposiciones del Canal de Isabel II, Forosur 2004 (Feria Iberoamericana de Arte Contemporáneo) and PHotoESPAÑA. Peregrín's work is rich in symbolism, inspired by classical art, Flemish and Baroque painting and also by the most experimental avant-garde culture. He has focused on the social image of the body, its perception, the canons of contemporary beauty, the concept of the mask, the passage of time, communication in the mass media, advertising in the consumer society, new technologies and the representation of the body as a place to investigate the consequences of power and gender roles today. A certificate of authenticity issued by the artist will be provided. The work is published on the artist's website. -Bibliography: Fucking Young! magazine nº 6 yCatalog of the exhibition "Artificio". Andalusian Center of Photography (CAF), 2018.

估价 2 500 - 3 000 EUR

编号 61 - EDUARDO MOMEÑE (Bilbao, 1952). "Anfred Prufrock" 2009. Triptych. Gelatin silver, copy 3/30. Titled, dated and numbered. Provenance: N2 gallery, Barcelona. Measurements: 37,5 x 24 cm (photograph); 52,5 x 42,5 cm (each frame). Eduardo Momeñe is a photographer and author of articles and essays on photographic aesthetics. The teaching of photography has occupied a prominent place in his professional career, and he has taught numerous courses, workshops and seminars. He has carried out projects such as the television series "La Puerta Abierta" or the magazine "Fotografías", both of which are considered reference works. His first exhibition was held at the Nikon Gallery in Barcelona in 1974, since then his photographs are part of public and private collections and he has exhibited in different countries. His last exhibition at the Círculo de Bellas Artes closed in January 2024. Magazines such as Vogue, Marie Claire, Elle or Stlyle have published his fashion, illustration or portrait images. He is the author of the books "La visión fotográfica", "Las fotografías de Burton Norton" and "El placer de fotografiar" and coordinator of "pam/Plassu" published by AfterPhoto, his portraits and studio compositions are included in the book "Eduardo Momeñe" published in Photobolsillo by La Fábrica.

估价 1 600 - 2 000 EUR

编号 62 - RAY K. METZKER (USA, 1931-2014). Untitled. 1997. Photograph. Signed and dated on the back. Measurements: 35 x 27 cm; 66 x 55.5 cm. Ray K. Metzker was an American photographer known primarily for his bold, experimental black-and-white cityscapes and for his large "compositions," assemblages of printed film strips and single frames. His work is held in several major public collections and is the subject of eight monographs. He has received awards from the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts and the Royal Photographic Society. Metzker was a student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of New Mexico. After graduate studies at the Institute of Design in Chicago, Metzker traveled extensively in Europe in 1960-61, where he had two epiphanies: that "light" would be his main theme and that he would seek synthesis and complexity over simplicity. Metzker used to say that the artist begins his explorations by embracing what he does not know. Awards: 1966: Guggenheim Fellowship, John Simon Guggenheim Memorial Foundation. 1975: National Endowment for the Arts Fellowship. 1988: National Endowment for the Arts Fellowship. 1989: Bernheim Fellowship at the Bernheim Arboretum and Research Forest, Clermont, Kentucky. 2000: Centenary Medal, Royal Photographic Society, Bath (HonFRPS). He is represented, among many other museums, at: Museum of Fine Arts, Houston. Museum of Modern Art, New York: 14 prints (as of 22 December 2021). J. Paul Getty Museum, Los Angeles. Whitney Museum of American Art, New York: 14 prints (as of 15 December 2021). Metropolitan Museum of Art, New York.

估价 1 800 - 2 000 EUR

编号 63 - CARINA LINGE (Cuxhaven, Germany, 1976). From the series "Single n. III". 2011. Five photographs on aluminum board. Signed on the back by hand. Measurements: 80 x 120 cm; 60 x 45 cm; 46,5 x 35 cm; 28,3 x 24,3 cm. In her photographic series "Single", Carina Linge explores themes that have always interested her, related to identity, femininity and the interaction between reality and fiction, between dream and wakefulness. She develops a visually captivating and sensual work, but without ceasing to delve into the conceptual. This is more than evident in these images: she plays with the classic genres of the baroque still life and vanitas painting (exploring the erotic symbolism of fruits), as well as with the female nude and the tradition of odalisques, dressing these genres with new meanings, where the woman speaks from the center of her being and her desire, of her sexual fantasies fulfilled or dreamed, of the ephemeral nature of passions and of life. In 2000 she began studying fine arts at the Bauhaus University in Weimar, where she graduated with a diploma in 2006 from Norbert W. Hinterberger. In 2007 she received her first teaching position at the Bauhaus University Weimar, followed by another in 2014. Carina Linge has one son and lives in Leipzig. Since 2009 she has been represented by the Berlin gallery Jarmuschek + Partner. Carina Linge works in photography and installation. In complex image paintings, she relates photographs, objects and text sheets to each other. Carina Linge's photographs are staged interiors, still lifes and multi-layered body images loaded with associative, symbolic and art historical references. Evanescence and death, love and loneliness, longings and desires are thematized with selected references to people, myths and historical images. In her series of works "Einsamer Eros", Carina Linge has been dealing with an expanded concept of portraiture since 2008 and portrayed singles and couples in image compositions arranged as psychograms. The image series "About Desire", created between 2011 and 2013, deals with the past, the vanished and the desired and the related development of human longings and desires. With "Theatrum Mundi" a new series of works was created in 2014, which shows the external representation and the inner world of emotions behind it of selected people and makes them visible. His work can be found in important collections such as: Testimony Collection, La Caixa Foundation, Barcelona; Vila Casas Foundation, Torroella de Montgrí, Girona; Barcelona Bar Association; Agbar Foundation; La Sardana Foundation, Barcelona.

估价 8 000 - 10 000 EUR

编号 64 - SCARLET BERNER (Berlin, 1955). "O.T. (Gelbe Vase)". 1990. Photograph on wood. Signed and titled on the back. Formica frame. Measurements: 105 x 80 cm (photograph); 129,5 x 129 cm (frame). Scarlet Berner lives in Munich. She initially studied painting at the Academy of Fine Arts in Munich, where she is a favorite pupil of Rudi Tröger. She has held solo exhibitions and participated in group exhibitions since 1982. She is often involved in photography projects applied to institutional architecture. She receives the sponsorship award for photography from the city of Munich.

估价 5 000 - 6 000 EUR

编号 65 - ELIZABETH MOSLER (Puerto Ordaz - 1976). Untitled. Photograph printed in fine art print. Measurements: 25 x 30 cm. Psychopedagogue and photographer, she studied at the EFTI photography school in Madrid. During her stay in Paris, she made several photographic series including "Cathédrales Gothiques" among others. She made a documentary work on the demonstration "Je suis Charlie" against the terrorist attacks of 2015, being one of these photographs winner of the dynamic "Making history" in honor of the exhibition of Josef Koudelka in Mapfre Foundation in Madrid. She has been selected by the National Center of Photography in Torrelavega for the exhibition "Fotografías para un encierro", this time she participates with a quimigram, being this a technique of photography without camera, said work is cataloged. Her works have been exhibited in Santana Art Gallery and currently in the online platform "El club de las mujeres invisibles". She is currently carrying out a personal project entitled "Mírate", with the aim of using photography as an emotional-social tool.

估价 300 - 400 EUR

编号 66 - ELIZABETH MOSLER (Puerto Ordaz - 1976). "Pantheon of Agrippa". Photograph printed in fine art print. Measurements: 40 x 60 cm. Psychopedagogue and photographer, she studied at the EFTI photography school in Madrid. During her stay in Paris, she made several photographic series including "Cathédrales Gothiques" among others. She made a documentary work on the demonstration "Je suis Charlie" against the terrorist attacks of 2015, being one of these photographs winner of the dynamic "Making history" in honor of the exhibition of Josef Koudelka in Mapfre Foundation in Madrid. She has been selected by the National Center of Photography in Torrelavega for the exhibition "Fotografías para un encierro", this time she participates with a quimigram, being this a technique of photography without camera, said work is cataloged. Her works have been exhibited in Santana Art Gallery and currently in the online platform "El club de las mujeres invisibles". She is currently carrying out a personal project entitled "Mírate", with the aim of using photography as an emotional-social tool.

估价 500 - 600 EUR

编号 67 - ELIZABETH MOSLER (Puerto Ordaz - 1976). "Filo Bianco". Photograph printed in fine art print. Measurements: 30 x 25 cm. Psychopedagogue and photographer, she studied at the EFTI photography school in Madrid. During her stay in Paris, she made several photographic series including "Cathédrales Gothiques" among others. She made a documentary work on the demonstration "Je suis Charlie" against the terrorist attacks of 2015, being one of these photographs winner of the dynamic "Making history" in honor of the exhibition of Josef Koudelka in Mapfre Foundation in Madrid. She has been selected by the National Center of Photography in Torrelavega for the exhibition "Fotografías para un encierro", this time she participates with a quimigram, being this a technique of photography without camera, said work is cataloged. Her works have been exhibited in Santana Art Gallery and currently in the online platform "El club de las mujeres invisibles". She is currently carrying out a personal project entitled "Mírate", with the aim of using photography as an emotional-social tool.

估价 300 - 400 EUR

编号 68 - BEATRIZ SANCHES MIGUEL (Brazil, 1974). "Flowers of Sophia". Print on Hahnemühle paper. Copy 1/10. Attached certificate issued by the artist. Presents dry stamp. Signed and justified on the back. Measurements: 30 x 21 cm (stain): 42 x 29,7 cm (photographic paper). Beatriz Sanches graduated in interior architecture at Unifenas, Brazil in 1996, year in which she also took a course in photography and analog development. She then continued her studies with a Master's degree in Art at MDCC college in Miami, Florida. Throughout her career she has worked as a freelance photographer and for Lean, Wilson and Assoc, as an interior decorator and in Gladys Palmera's private collection as a photographer and retoucher.

估价 500 - 600 EUR

编号 69 - "PACO PEREGRÍN"; PEREGRÍN, Francisco (Almería, 1976). "Alien Beauty (VI)". Model Naadia Kloet (Delphoss). Exemplar 1/10. Small Edition (limited to 10 copies + 1AP). Digital photography. Lambda print under methacrylate on dibond and aluminium frame. Enclosed certificate issued by the artist. Bibliography: "Otherworldly", Theo Mass Lexileictous and Editorial Gestalten, 2016 (Page 238); "Avenue Illustrated" Magazine, issue 19, Spain, 2009 (page 105); "Ozine Magazine", issue October-November 2009 (Page 199). Work signed and numbered. Size: 50 x 37 cm. In the present work, and inspired by the alien aesthetics, Paco Peregrín has created a beautiful, fashionable and "avant-garde" story between futurism and the extraterrestrial. It shows a personal and striking speculation on the evolution of identity and the transfiguration of human features. Paco Peregrín is an Andalusian photographer, currently considered one of the world's leading talents in artistic, editorial and advertising photography, always highlighting his experimental side in all his work, characterised by its strength and forcefulness. He trained in Seville, adopting a mystical sensibility of compositional schemes and chromaticism inspired by baroque art. It is possible that it was his theatrical experience that gave him the ability to direct his models in front of his camera, to develop his spatial perception and to show the body, presence and time in his work. He currently lives in Madrid, a detail that, together with his time in important cultural capitals (London, New York...) has added contemporaneity and freshness to his work, which is unique. It is also important to highlight his wide experience in design, communication, theatre and painting. He alternates fashion photography for magazines such as Vogue, Harper's Bazaar or L'Officiel with commercial work for brands such as Dior, Chanel, Saint Laurent, L'Oréal Paris, Adidas, Nike, Gant, Toyota, Lancôme, Shiseido... with signature photography, having exhibited his work in galleries in New York, Paris, Barcelona, Beijing, Madrid, Berlin, Seville, San Sebastián, etc., and in museums and galleries such as the Centro de Arte y Creación Industrial in Madrid, Barcelona, Beijing, Madrid, Berlin, Sevilla, San Sebastián, etc. and in museums and galleries such as the Centro Andaluz de Arte Contemporáneo (Seville), Museo de Artes y Costumbres Populares de Sevilla, Museo Cristóbal Balenciaga (Getaria, Gipuzkoa), Centro de Cultura Contemporánea de Barcelona, Foro Sur, Sala de exp. del Canal de Isabel II, Museo Provincial de Cádiz, etc. His striking work has been recognised with awards such as the LUX Gold National Professional Photography Prize in Fashion and Beauty (2008). The publishing house Gestalten (specialised in art and architecture) has included him among the most important and original projects in the book "Otherworldly", and the publishing house Prestel published his work in "New Fashion Photography", where he is one of the most important references worldwide in contemporary fashion photography.

估价 1 400 - 1 600 EUR

编号 70 - ORLAN (Saint-Étienne, France, 1947). "Disfiguration-Refiguration, Precolumbian Self-Hybridization" No. 12, 1999. Photograph. Specimen 2/7. Dampness and damage to the frame. Signed, justified, and titled on the back. Measurements: 100 x 100 cm; 104 x 104 cm (frame). In this photograph, Orlan continues to question the social and cultural pressures exerted on the body and its representation in the media. Orlan has created a new image in this work, literally combining pre-Columbian and African icons with his own image; the resulting hybridizations create a complex narrative that blurs distinctions between time and place, real and unreal. He has created a new image to produce new images: Self-Hybridizations. The work contains evidence of past tribal rites and rituals associated with beautification that, along with her own modifications through plastic surgery, argue over salient issues in recent history such as collective identity, tragedy and exclusivity. The self-hybridizations also act as portraits of a potential future humanity, in which interbreeding between humans of diverse backgrounds gives rise to new bodies, with nomadic and mutant identities. ORLAN's career as a performance artist began in 1964, when he performed Marches au ralenti (slow-motion walks) in his hometown of Saint-Étienne. During these performances, he walked as slowly as possible between two central parts of the city. In 1965, ORLAN produced MesuRages, in which he used his own body as a measuring instrument. With his "ORLAN-body" as a unit of measurement, he assessed how many people could fit into a given architectural space. This was the first time he used his body in a performance piece. ORLAN reused this concept in several subsequent projects. Between 1964 and 1966, ORLAN produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces and today only one copy of each photograph remains. In this series, she posed nude in various yoga-like positions. One of the most famous images from this series is ORLAN accouche d'elle m'aime.Between 1967 and 1975, ORLAN produced a body of work entitled Tableaux Vivants. He based them on the works of Baroque artists such as El Greco and Gericault. He used inmates as models, wore exaggerated imitation Baroque costumes and drew inspiration from Caravaggesque stereotypes. In 1971, ORLAN "christened itself" Sainte-ORLAN, adorning itself with black corrugated vinyl and white faux leather. Color photographs of Sainte-ORLAN were subsequently incorporated into photo-collages, videos and films tracing a fictional hagiography. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN performed the controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais in Paris, a life-size photo of his torso was turned into a slot machine. Spectators could watch the coin inserted into the torso descend into a groin before receiving a kiss from the artist.ORLAN founded the International Performance Symposium in Lyon. In 1982, he collaborated with artist Frédéric Develay to create the first online contemporary art magazine, Art-Accès-Revue, on the French precursor to the Internet, the Minitel. In 1990, ORLAN initiated the Reincarnation of Sainte-ORLAN. This is a series of plastic surgeries through which the artist transformed herself into elements of famous paintings and sculptures of women. As part of her manifesto "Carnal Art", these works were filmed and shown in institutions around the world, such as the Georges Pompidou Center in Paris and the Sandra Gehring Gallery in New York. ORLAN's goal in these surgeries is to acquire the ideal of feminine beauty as depicted by male artists. When it is compl It presents humidity and damages in the frame.

估价 1 800 - 2 000 EUR

编号 71 - Eladio de Mora is one of the great representatives of Spanish contemporary art, Eladio de Mora discovered his artistic vocation as a child. Fundamentally self-taught artist, he develops a work that could be placed halfway between pop and expressionism. His creations are characterized by simplified features and pure colors, and are made in materials such as plastic, polyester and some resins. Under the almost childish appearance of his works, sometimes critical meanings are hidden; he confesses to seek in his works the balance between rigor and smile. Some of his best known pieces are his series of bears, ducks, divers and meninas. In fact, his sculptures are usually grouped in families, so that the repetition intensifies the impact. Also, most of his sculptures are placed outdoors, since Mora seeks above all a direct relationship with the public. He began to make himself known through group exhibitions at the beginning of the 21st century, and in 2002 he held his first solo exhibitions, both in Spain (Azteca and Séller galleries in Madrid, Espacio Líquido in Gijón) and abroad (Heyd gallery in Hildritzhausen, Germany). Since then his presence will be constant in the art scene; he will continue to exhibit individually, and also taking part in art fairs and group shows. In recent years he has shown his work in personal exhibitions held in prominent Spanish and foreign art galleries and centers, among them the Jorge Ontiveros Gallery in Madrid, the Drissien Gallery in Munich, the Florencio de la Fuente Museum in Valencia, the Contemporary Art Museum in Malaga, the Juan Ismael Art Center in Madrid, the Juan Ismael Art Center in Madrid, the Juan Ismael Art Center in Madrid, the Drissien Gallery in Munich, and the Florencio de la Fuente Museum in Valencia, the Centro de Arte Juan Ismael in Fuerteventura, the Espacio para el Arte Caja Madrid, the Hotel Urban and the Centro de Arte Moderno also in Madrid, the IVAM in Valencia, the Museo MACAY in Mexico, the gallery Los Oficios and the Museo de Bellas Artes in Havana, the Museo Arterra in Vienna and the Fundación Antonio Pérez in Cuenca. He has also participated in important group exhibitions in Spain, Mexico, Italy, Portugal and Germany. It is also worth mentioning Mora's important work as a designer of trophies, among them the "Women Together" in New York, the "Master Senior Comunidad de Madrid" or the "Protagonistas del motor de El Mundo". Throughout his career he has received the "Getafe Ciudad de las Artes" (Madrid, 2005) and "Aura" (Toledo, 2007) awards, and has created monuments and installations in Madrid, Logroño, Havana, Vienna, Gijón, Málaga and Valencia, among other cities. Mora is currently represented at the IVAM in Valencia, the Arterra Museum in Vienna, the Museum of Contemporary Art Domus Artium in Salamanca, the Museum of Glass Art in Alcorcón, the Museum of Fine Arts in Havana, the Museum of Graphic Work of San Clemente in Cuenca, the Antonio Pérez Foundation, the Antonio Saura Foundation and Coca-Cola, the Coca-Cola Foundation, Antonio Saura and Coca-Cola Foundations, the Provincial Councils of Cuenca and Guadalajara, several municipalities of Madrid and Toledo, the Ministry of Culture and Tourism of the Community of Madrid, and the Contemporary Art Collection of "El Mundo", among many other public and private collections.

估价 1 300 - 1 500 EUR

编号 72 - "dEmo"; ELADIO DE MORA (1960, Toledo). "Blue bear in the living room". Photograph. It has slight damage to the frame. Measurements: 74 x 93 cm; 98 x 117 cm (frame). Eladio de Mora is one of the great representatives of Spanish contemporary art, Eladio de Mora discovered his artistic vocation as a child. Fundamentally self-taught artist, he develops a work that could be placed halfway between pop and expressionism. His creations are characterized by simplified features and pure colors, and are made in materials such as plastic, polyester and some resins. Under the almost childish appearance of his works, sometimes critical meanings are hidden; he confesses to seek in his works the balance between rigor and smile. Some of his best known pieces are his series of bears, ducks, divers and meninas. In fact, his sculptures are usually grouped in families, so that the repetition intensifies the impact. Also, most of his sculptures are placed outdoors, since Mora seeks above all a direct relationship with the public. He began to make himself known through group exhibitions at the beginning of the 21st century, and in 2002 he held his first solo exhibitions, both in Spain (Azteca and Séller galleries in Madrid, Espacio Líquido in Gijón) and abroad (Heyd gallery in Hildritzhausen, Germany). Since then his presence will be constant in the art scene; he will continue to exhibit individually, and also taking part in art fairs and group shows. In recent years he has shown his work in personal exhibitions held in prominent Spanish and foreign art galleries and centers, among them the Jorge Ontiveros Gallery in Madrid, the Drissien Gallery in Munich, the Florencio de la Fuente Museum in Valencia, the Contemporary Art Museum in Malaga, the Juan Ismael Art Center in Madrid, the Juan Ismael Art Center in Madrid, the Juan Ismael Art Center in Madrid, the Drissien Gallery in Munich, and the Florencio de la Fuente Museum in Valencia, the Centro de Arte Juan Ismael in Fuerteventura, the Espacio para el Arte Caja Madrid, the Hotel Urban and the Centro de Arte Moderno also in Madrid, the IVAM in Valencia, the Museo MACAY in Mexico, the gallery Los Oficios and the Museo de Bellas Artes in Havana, the Museo Arterra in Vienna and the Fundación Antonio Pérez in Cuenca. He has also participated in important group exhibitions in Spain, Mexico, Italy, Portugal and Germany. It is also worth mentioning Mora's important work as a designer of trophies, among them the "Women Together" in New York, the "Master Senior Comunidad de Madrid" or the "Protagonistas del motor de El Mundo". Throughout his career he has received the "Getafe Ciudad de las Artes" (Madrid, 2005) and "Aura" (Toledo, 2007) awards, and has created monuments and installations in Madrid, Logroño, Havana, Vienna, Gijón, Málaga and Valencia, among other cities. Mora is currently represented at the IVAM in Valencia, the Arterra Museum in Vienna, the Museum of Contemporary Art Domus Artium in Salamanca, the Museum of Glass Art in Alcorcón, the Museum of Fine Arts in Havana, the Museum of Graphic Work of San Clemente in Cuenca, the Antonio Pérez Foundation, the Antonio Saura Foundation and Coca-Cola, the Coca-Cola Foundation, Antonio Saura and Coca-Cola Foundations, the Provincial Councils of Cuenca and Guadalajara, several municipalities of Madrid and Toledo, the Ministry of Culture and Tourism of the Community of Madrid, and the Contemporary Art Collection of "El Mundo", among many other public and private collections. Slight damage to the frame.

估价 1 000 - 1 200 EUR

编号 73 - FRANCIS BACON (Dublin, 1909- Madrid, 1992). "Three studies for a self-portrait". Lithograph on Arches paper, E.A. copy. Signed and justified by hand. Work acquired at the Coskun Gallery in London in 2008. Size: 52 x 94 cm; 79 x 121 cm (frame). Francis Bacon is the author of some of the most striking and unprecedented paintings in contemporary art. His style, obsessive, tormented and heartbreaking, is a clear document of the hardship experienced in Europe after the Second World War. His works are currently fetching stratospheric sums at international auctions, making him one of the most sought-after artists on the art market today. A reflection of this is the triptych "Three Studies by Lucian Freud (1969)", which in 2013 reached a record sale price of 142 million dollars at public auction, making it one of the three most expensive works in history. Some of his works can be seen in the world's most important art galleries, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía. "Three Studies for a Self-Portrait" emphatically defines what Bacon's art was all about. Decomposed, isolated, disturbing and spiritual figures that, far from seeking a specific resemblance to the person depicted, delve into the spirituality of the sitter. Here we see the abstraction, fragmentation and distortion of the painter's face, a key aspect in Bacon's artistic development, a consequence of the life events that made his existence a fervent time bomb about to explode. Through his work he expresses his vital condition, which is also linked to his self-destructive side, thus managing to express loneliness, violence and degradation. Born in Dublin, although of English parents, Francis Bacon began painting as a self-taught artist. When he was only 17, in 1927, the Paul Rosemberg gallery opened its doors to the painter. There he became acquainted with the work of Pablo Picasso, an artist he would admire throughout his career. Like Picasso, other painters made an impression on Bacon's work: Velázquez (whose version of Pope Innocent X he painted, producing at least 40 "popes") and Nicolas Poussin, whose "The Massacre of the Innocents", now in the Musée Condé, aroused intense emotion in him. In 1945 he exhibited in London, together with the English artists Henry Moore and Graham Sutherland, his painting Three Studies for Figures at the Foot of a Crucifixion (c. 1944), a triptych which, according to Bacon himself, marked the starting point of his career. By 1945 Bacon had developed his own unmistakable style. In 1949 the Museum of Modern Art in New York (MOMA) bought an impressive work by Bacon entitled Painting 1946. In 1956 he was invited to represent Britain at the Venice Biennale alongside Ben Nicholson and Lucian Freud. With his work, Bacon decided that the subject of his paintings would be both life in death and death in life. He sought to express his vital condition, which was also linked to his self-destructive side. Michel Leiris suggested to him that masochism, sadism and similar manifestations were really just ways of feeling more human. Portraits and self-portraits constitute an important part of Bacon's paintings, among them George Dyer in a Mirror of 1968, a work in which the painter suggests the vulnerability and fragility of the self. Bacon made portraits without poses taken from life, developed from photographs. He portrayed his intimate companions and friends as well as famous people: Peter Lacy, George Dyer and John Edwards, Henrietta Moraes, Isabel Rawsthorne, Muriel Belcher, Lucian Freud, Peter Beard and Michel Leiris, as well as Hitler, Pius XII and Mick Jagger. Some of his works can be seen in the most important art galleries in the world, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Muse

估价 20 000 - 25 000 EUR

编号 74 - ROBERT MOTHERWELL (United States, 1915-United States 1991). "Samurai", 1971 Lithograph on Japan Suzuki paper. Hand signed by the artist. Label by Brooke Alexander on the back. Measurements: 200 x 160 cm; 216 x 124 cm (frame). "Samurai" is a paradigm of Motherwell's work: an aggressive black form from which explosions and slashes radiate. It is one of Motherwell's most potent images, invoking elements of sexuality in the phallic abstract form and violence through the title. Although it is difficult to decipher the traces of figuration in Motherwell's work, he was inspired by and referenced literature, life, politics. A multidisciplinary artist, he trained at Stanford and Harvard Universities in Philosophy and at Columbia University in History and Art, under the direction of Meyer Schapiro. He was one of the leading representatives of American abstract expressionism, to whose group of founders he belongs along with Pollock, Arshile Gorky and Rothko. He also excelled as an art critic. He wrote numerous articles in avant-garde magazines and edited books such as "Documents of Modern Art" (1944-1961) or "Documents of 20th Century Art" (1971). He was a member of the editorial board of the Surrealist-linked publication "VVVV", Motherwell's main objective was to show the viewer the artist's mental and physical engagement with the canvas. He used the hardness of the color black as a basic element; one of his best known techniques consisted of diluting the paint with turpentine to create a shadow effect. His series of paintings known as "Elegies to the Spanish Republic" (Elegy to the Spanish Republic) is considered his most significant project. Among his many exhibitions, we can highlight his participation in the most important surrealist exhibition in the United States organized by André Breton, Marcel Duchamp and gallery owner Sidney Janis at the Whitelaw Reid Mansion (Manhattan-1942). Also the exhibition held at the Gallery "Art of this Century" (New York) in 1943 directed by Peggy Guggenheim; in which he participated along with Jackson Pollock and Baziotes. The following year the Museum of Modern Art in New York acquired one of his works; he was subsequently included in several exhibitions at the same Museum. In 1980, Robert Motherwell had his first exhibition in Spain at the Fundación Juan March (Madrid). In 1986, he received the Gold Medal for Merit in the Fine Arts, Spain's highest cultural award. In 1989, the National Medal of Arts of the United States, the Museum of Modern Art in Fort Worth (USA) houses the largest collection of works by Motherwell. In the Empire State Plaza (New York) you can also find some of his works. The Walker Art Center (Minneapolis, USA) has an almost exhaustive collection of his prints. In addition to the representation in numerous museums, public and private collections and in the most prestigious galleries around the world.

估价 25 000 - 30 000 EUR

编号 75 - DAMIEN HIRST (Bristol, UK, 1965). "Kynance Cove" from the series "Where the Land Meets the Sea". Giclée print laminated on aluminum composite panel. Edition number: 296/411. Heni Editions, 2023. Catalog number: H13-3. With edition information on the back and hand signed by the artist. Measurements: 120 x 90 cm. The abstract and contemporary version of Kynance Cove, located on the east side of Mount's Bay, Cornwall (England), stars in this Giclée print. It corresponds to the "Coast Paintings" series, so-called "abstract action" paintings named after British coastal locations that Hirst developed while painting his acclaimed Cherry Blossoms series. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect; wrapped in an aura of romanticism, he made revolutionizing the art world look easy. Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections.

估价 7 000 - 8 000 EUR

编号 76 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Miró, Museum of Modern Art Mexico". 1980. Lithograph on Arches vellum, copy 2/100. Signed, dedicated, dated and numbered in pencil. Publisher: Museo de Arte Moderno de México. Printer: Litografías Artística Damià Caus, Barcelona. Reproduced in Maeght Editeur "Miró Litógrafo VI", p. 148. Measurements: 76 x 56 cm; 97 x 77 x 4 cm (frame). This lithograph by Miró, limited to one hundred copies, was used for the poster announcing Joan Miró's exhibition in the Bosque de Chapultepec in the spring of 1980, at the Museum of Modern Art. Moons, stars, figures reduced to a few strokes in thick black enclosing in their interior primary colors... synthesize some of Joan Miró's soul constellations gathered in this image. Joan Miró was trained in Barcelona, and made his individual debut in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

估价 5 000 - 6 000 EUR

编号 77 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "El cap", 1987. Engraving, copy HC 11/15. Signed and justified in pencil. Measurements: 98 x 130 cm.(print); 135 x 168 cm.(frame). Some of Tàpies' plastic inquiries of the eighties converge in "El Cap": numerology and alchemy (progression and sequence coded in the numbers 1,2,3,4), the Greek cross (with its spiritual sense beyond Christian dogma, added to the idea of intersection and personal identity) and the emphasis on zero as a symbol of emptiness and fullness, cycle and eternity, that is, conjugation of opposites. Finally, the calligraphy in black strokes defies legibility to emphasize the texture and the enigma of the text. Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and in museums such as the Guggenheim in New York or the Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand 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 Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

估价 7 000 - 9 000 EUR

编号 78 - JAUME PLENSA (Barcelona, 1955). "Marvelous the conversation we don't have". Lithograph on zinc plate and polymer etching on Japanese Arakaji paper. Exemplary E.A. Signed and justified. Measurements: 77 x 50 cm. Jaume Plensa studied in the School of La Llotja and in the Superior of Fine Arts of Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

估价 1 500 - 1 800 EUR

编号 79 - JAUME PLENSA (Barcelona, 1955). "Arcano", 2015. Lithograph and etching on Somerset paper, Signed and dated by hand. Measurements: 70 x 50 cm.(print); 86 x 65 cm.(paper). Jaume Plensa studied at the School of La Llotja and the Superior of Fine Arts of Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

估价 1 500 - 2 000 EUR

编号 80 - JAUME PLENSA (Barcelona, 1955). Untitled, ca. 1980 Etching, copy P.A. Signed and justified in pencil. Measurements: 57 x 28 cm (print); 67 x 51,5 cm (paper); 78 x 62 cm (frame). Jaume Plensa studied at the School of La Llotja and the Superior of Fine Arts of Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

估价 1 500 - 2 000 EUR

编号 81 - JAUME PLENSA (Barcelona, 1955). "Carl Orff", ca. 1980 Embossed engraving on Japan laid paper, copy 13/50. Signed and justified in pencil. Measurements: 97 x 61 cm (print); 113 x 77 cm (frame). Jaume Plensa studied at the School of La Llotja and the Superior of Fine Arts of Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

估价 2 000 - 2 500 EUR

29th July - Iconic Photography & Graphic work

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