Null LADISLAS KIJNO (1921-2012)
Composición, hacia 1965
Técnica mixta sobre made…

Descripción

LADISLAS KIJNO (1921-2012) Composición, hacia 1965 Técnica mixta sobre madera Signée en bas à gauche 100 x 72,6 cm Técnica mixta sobre madera Firmado abajo a la izquierda 39 3/8 x 28 5/8 pulg. Procedencia Colección particular Un certificat de l'artiste en date du 23 octobre 2006 sera remis à l'acquéreur.

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LADISLAS KIJNO (1921-2012) Composición, hacia 1965 Técnica mixta sobre madera Signée en bas à gauche 100 x 72,6 cm Técnica mixta sobre madera Firmado abajo a la izquierda 39 3/8 x 28 5/8 pulg. Procedencia Colección particular Un certificat de l'artiste en date du 23 octobre 2006 sera remis à l'acquéreur.

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Precio de salida 350 EUR

KIJNO Ladislas (1921-2012) El jinete de la paz, tapiz serigrafiado, Bolduc al dorso, titulado, prueba de artista justificada V/XX, firmada por el artista e indicando la procedencia del estudio, éditions Combat pour la paix, 35 rue de Clichy 75009 París 150 x 100 cm - Pecas en el lienzo trasero.

Valorac. 100 - 150 EUR

Pareja de granujas c. 1900, un niño zapatero, Victor Heinrich Seifert, c. 1900, firmado en el reverso, bronce patinado marrón oscuro, sobre pedestal serpentino, h bronce 13 cm, altura total 20 cm; un niño piojo, Vaclav Szczeblewski, fechado en 1889, bronce estampado Garanti au titre L.V. Deposée y número 3915, bronce patinado marrón, niño piojoso en sencillo traje de época, con sombrero desgarbado y pies descalzos sobre plinto redondo, montado sobre peana de mármol, patinado frotado, h bronce 21,5 cm, h total 23,5 cm. Información sobre el artista: Escultor alemán (1870 Viena - 1953 Berlín), hijo del inspector de jardines Franz Seifert y de Franziska Seifert, fue a la escuela en Viena y Munich, estudió en el Kunstgewerbemuseum y en la Academia de Arte de Berlín, alumno de Ernst Herter, Ludwig Manzel y Peter Breuer, viajó a París, Italia, Bruselas y Londres, el Kunsthandbuch de Dressler, volumen 2, página 945, lo identifica como profesor, en 1930 vivía en Lietzenburger Strasse 31, Berlín W, era miembro de la Künstler-Genossenschaft y de la Künstlerverein der Bildhauer, fuente: Thieme-Becker/Vollmer, Allgemeines Lexikon der Bildenden Künstler, Verlag Seemann Henschel GmbH & Co. KG. y Wikipedia.de. Información sobre el artista: En realidad Wacław Bernard Szczeblewski, pintor y escultor polaco (1888 Pelplin a 1965 Gdynia), graduado en el Collegium Marianum de Pelplin, estudió con el apoyo económico de sus profesores 1908-1918 en la Real Academia de Bellas Artes de Dresde, desde donde viajó a importantes ciudades como Londres , París y Viena, desde 1920 afincado en Grudziądz, En 1922 fundó la Escuela de Arte de Pomerania, de carácter privado, en los locales de la biblioteca municipal, pero también impartió clases de dibujo y pintura en una escuela de magisterio hasta 1930, fue miembro del Movimiento de los Jóvenes Casubios, fue uno de los organizadores de la Asociación Casubia, se trasladó con la escuela a Gdynia a partir de 1933, celebró numerosas exposiciones y recibió premios por su obra. Los motivos casubios se utilizaron en la decoración interior de la iglesia de Chmielno y de la iglesia de la guarnición, que no ha sobrevivido. Fuente: Wikipedia Polonia: Wikipedia Polonia.

Valorac. 12 000 - 13 000 EUR

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Red and black composition", circa 1962. Oil and gouache on lithographed paper mounted on canvas. Attached is a certificate issued by the Antoni Clavé Archives. The work is registered in the Antoni Clavé Archives, Paris. No : 62TMPMT18. Signed in the lower right corner. Size: 57 x 77 cm; 67 x 87 cm (frame). On a dark background the intensity of the red stands out, reaching a contrast of colours, which brings vivacity to the composition and awakens the spectator's gaze. Through the play between red and black, a resource often used by Antoni Clave, the artist deploys a whole set of elements, apparently random, which come together to form a baroque composition. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

Stima 7 000 - 8 000 EUR

SOL LEWITT (Connecticut, 1928 - New York, 2007). "Not straight lines", 2003. Set of 6 etchings, issue 19/20. Hand signed and numbered by the artist. Measurements: 25 x 25 cm (u.c.); 41 x 41 cm (frames). In the "Not Straight Lines" series, LeWitt develops parallel irregular lines that play with the ambiguity between improvisation and meticulous study of patterns. Using minimalist techniques, LeWitt creates compositions that may appear simple at first glance, but reveal a complexity in the interplay of forms and spaces. LeWitt dedicated his entire oeuvre to delving conceptually and graphically into the exploration of patterns and systems through geometry and repetition. The broken lines convey a sense of fluidity and energy that we visually associate with the pulse of the hand and the emotions involved in creation. These lines thus become a kind of seismograph, a device metaphorically associated with creative intuition. An artist linked to several movements, among them conceptual art and minimal, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

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