9th July - Contemporary Art and latest trends

Lote 1 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Défilé de Mannequins a Istanbul," 1969. Lithograph on paper. Copy 19/75. It presents humidity in the upper and lower area of the right side and transverse wrinkle in the center. Signed in the lower right corner. Justified in the lower left corner. Measurements: 122 x 82 cm; 141 x 101 cm (frame). The "Mannequin Parade" series exemplifies Miró's mastery of printmaking and his ability to communicate complex ideas through playful imagery. It offers a glimpse into his personal visual language while prompting viewers to reflect on themes of individuality, urban life and the joy of existing.Joan Miró was one of the great figures of 20th century art internationally. He was trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the artistic promoter Joan Prats. Thus, since his formative years he was directly related to the most avant-garde circles of Barcelona, and already in the early date of 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These would be the crucial years of his artistic career, in which Miró would discover his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of surrealism, was grouped. Thus, under the influence of surrealist poets and painters, with whom he shared many of his theoretical approaches, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the thirties onwards Miró became one of the most outstanding figures of the international art scene, as well as one of the key creators of the twentieth century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures or the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon resumed painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, since 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York dedicated a retrospective to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington or the MNAM in Paris. It presents humidity in the upper and lower area of the right side and transverse wrinkle in the center.

Valorac. 10 000 - 12 000 EUR

Lote 2 - ANTONIO DE FELIPE (Valencia, 1965). "The Beatles", 2011. Fiberglass, acrylic and polyester. Signed and dated. Measurements: 217 x 212 x 103 cm. Rescuing pop icons as usual in the work of Antonio de Felipe, this monumental sculpture represents the legendary band from Liverpool. This piece stands out for its exceptional nature, as it is an unusual format in Antonio de Felipe's production. The Beatles in this work are inspired by the cover of the album "Yellow submarine", whose animated alter egos were created by the illustrator and designer Heinz Edelmann (Czechoslovakia, 1934 - Germany, 2009). Despite starting from these drawings, Felipe introduces elements such as the banana that Paul carries in his hand, or George Harrison whose costume varies widely, thus adopting the body of one of the famous "Three musicians of Picasso", currently in the MoMa collection. The Boca del Calvari Museum in Benidorm held the exhibition "Antonio de Felipe.25 years of Spanish Pop Art", where a monumental work of the Beatles could be appreciated. With a degree in Fine Arts from the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative in an advertising agency, a fact that will undoubtedly mark what will be his pictorial style in the future. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", along with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the color, garish and provocative, as well as the subject matter, very simple and direct. His facet as a creative has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as to create continuity bumpers for Telemadrid or design tableware for the firm Santa Clara. He has collaborated on posters, album covers and important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation of New Orleans, the Testimoni Collections of La Caixa, Carmen Thyssen-Bornemisza and Kneip of Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. To this national and international presence is added its participation in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg, or KIAF (Korea International Art Fair), reference frameworks to know the latest artistic trends.

Valorac. 10 000 - 12 000 EUR

Lote 3 - MATÍAS SÁNCHEZ (Germany, 1972). "Young Bacon", 2011. Oil on canvas. Signed in the lower left corner. Signed, dated, titled and located on the back. Measurements: 151 x 200 cm. Work of abstract and neo expressionist character, in which the artist presents a canvas whose image is vibrant and dynamic, achieving a great expressiveness, through the pictorial composition. It is a representation in which the use of textures generated by the materials has a great presence that harmonizes with the great intensity of the color used. Thus creating a pictorial atmosphere that appeals to the viewer and creates a binding emotional narrative. Thus, as we see here, the pictorial forms are the result of a thoughtful composition and experimentation, with an image of gestural character, are not limited to an abstract composition, but go beyond, indicating to the viewer that it is about forms, ideas or suggestions that cross the boundaries of the purely pictorial and tell us about the painter's own craft. Matias Sanchez was born in Germany in 1972 and was self-taught. He has always felt an impulse for art that led him to develop an artistic career. Matias Sanchez made his first exhibition in Cavecanem in 2001 and a year later his work was exhibited at Arco where he received a warm welcome from critics. In 2003 he repeated his experience at the Contemporary Art Fair held in Madrid, being his work collected and disseminated in the newspaper El País. This was a turning point in his career, which led to numerous solo and group exhibitions, both nationally and internationally. Among which include the exhibition at the gallery Begoña Mallone (Madrid), Javier Marín (Málaga), Valle Ortí (Valencia), Espacio Liquido (Gijón), "Christopher Cutts Gallery" (Toronto - Canada) and Costantini Art Gallery (Milan - Italy), his work has been exhibited in various spaces of contemporary art reference example of this are the CAAM - Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria) or the CAC Malaga. In addition to ARCO, MACO 2013 - Mexico Arte Contemporáneo, Art Stage Singapore 2013, Art Monaco 2013, India Art Fair 2013, Contemporary Istanbul 2012, Art Toronto 2012, Art Moscovo 2012 and Beirut Art Fair 2012.

Valorac. 18 000 - 20 000 EUR

Lote 4 - CARMEN CALVO (Valencia, 1950). Objects Series. Mixed media on book by María Santoja, on board and methacrylate box. Signed in the lower right corner. Measurements: 22 x 47 x 18 cm (urn). Around 1996, Carmen Calvo recovered many of the objects from a tailor's shop located in the Plaza de la Reina in Valencia. The store belonged to Rafael Molina and his wife María Santonja, whose name can be read on this piece. The artist recovered numerous papers, magazines, patterns, fashion illustrations, correspondence, notes, invoices, in short, everything that had been discarded or forgotten. In this particular case Carmen Calvo presents a draft book of ornaments in which a series of crystals as "fossilized brushstrokes", as the author herself has called her technique. The work links with the image of the order of accumulation associated with the artist. In it, small pieces introduce us to a rhythm of sequences reminiscent of a collector's display case, an influence derived from Calvo's discovery of the Egyptian and Mesopotamian art collections at the Louvre Museum in Paris. The influences, recognized by Calvo, come from the work of Kurt Schwitters or Joseph Cornell, in which the objectual, the accumulation and the rhythmic repetition come together to create a work that is very much archaeological in its creation. Carmen Calvo studied at the Schools of Arts and Crafts and Fine Arts in Valencia, and graduated in advertising in 1970. She would later broaden her training thanks to scholarships from the Ministry of Culture (1980), the Casa de Velázquez in Madrid (1983-85) and the Ministry of Foreign Affairs, for her residence in Paris (1985-92). During these years Calvo began to be recognized, receiving distinctions such as the I LaSalle Seiko Painting Prize of Barcelona (1985), the Alfons Roig of the Diputación Valenciana (1989), a scholarship in the I Biennial Martínez Guerricabeitia of the University of Valencia (1989), and the selection for the XLVII Biennial of Venice (1997). The artist had begun her exhibition activity in 1969, taking part in a group show held at the Círculo Universitario de Valencia. She made her individual debut in 1976 at the Temps gallery in her hometown, and since then she has shown her work individually in various cities in Spain and the United States, as well as in other countries in Europe, America and Africa. Works by Carmen Calvo can currently be seen in art institutions, museums and private collections all over the world, including the Guggenheim Museum in New York, the Reina Sofia in Madrid, the Marugame Hirai in Kobe, the MACBA in Barcelona, the Fonds National d'Art Contemporain in Paris, the IVAM in Valencia, the Chase Manhattan Bank collection in New York, etc.

Valorac. 5 000 - 6 000 EUR

Lote 5 - ZAO WOU-KI (Beijing, 1921 - Nyon, Switzerland, 2013). "Zoo-4," 1986. Aquatint etching, copy H.C. 4/15. Signed and justified by hand. Measurements: 56 x 40.5 cm (print); 63 x 48 cm (paper); 86 x 70 cm (frame). Even in engravings, Zao Wou-Ki works with large masses of satin color that implode configuring germinal big bangs, sublime and primordial landscapes as in this occasion. Zao Wou Ki was born into a Franco-Chinese family and grew up in a very cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Faculty of Fine Arts in Hangzhou between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. It is Michaux who writes the catalog presentation for his first New York exhibition, at the Cadly-Birch Gallery.

Valorac. 4 000 - 5 000 EUR

Lote 6 - BENGT LINDSTRÖM (Sweden, 1925 - 2008). Untitled. Acrylic on paper glued to board. Presents label on the back of the Juana Mordó Gallery, Madrid. Signed in the lower left corner. Measurements: 104 x 74 cm; 110 x 80 cm (frame). This piece reflects an aesthetic language where various avant-garde movements and the translation of the history of art are reflected. From a new perspective in which the aesthetic transgression at the hands of the artist that involves the creation of an image with its own language and personality. Through the use of color the work offers the viewer a new vitalist aesthetic that merges with a diluted and fluid technique that spreads over the surface of the canvas in an apparently random way. However, compositionally the artist has managed to create a completely harmonious image where the mastery of color and technique achieve an expressive, vitalistic and dynamic image that captures and creates a dialogue with the viewer. Bengt Lindström began his artistic training at the Stockholm Academy (1944-1945) and at Isaac Grünewald's school of painting. He later worked with Aksel Jorgensen, before spending some time in Chicago and moving to Paris. There he worked in the studios of Fernand Léger and André Lhote. In 1949 he began to paint in a less figurative and increasingly colorful style. His first solo exhibition took place in Sweden in 1954, at the Gummesson Art Fair. From the 1950s onwards, he took part in several group exhibitions and salons in Paris. Recognized from the 1950s onwards, Lindström held solo exhibitions in cities such as Paris, London, Brussels, Cincinnati and Tokyo. Most of his work is currently held at the Krimaro Foundation, as well as at the Reina Sofia Museum in Madrid, the Carnegie Institute, the Pompidou Center in Paris and the Tate Gallery in London, among many others.

Valorac. 5 000 - 6 000 EUR

Lote 7 - EDUARDO ARRANZ BRAVO (Barcelona, 1941-2023). "Texas home", 1973. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 200 x 260 cm; 202 x 262 cm (frame). Work published in "Arranz Bravo-Bartolozzi", J. Corredor Matheos. Page 68. Arranz Bravo was a total artist, theoretician and executor, key in the development of the Catalan and Spanish avant-garde of the second half of the 20th century. His work and his personality are part of the history of struggle and rupture of the Spanish artists during the last decades of Franco's regime. Arranz Bravo was a spearhead in this opening, in this rejection of traditionalist Manichaeism that led to the complete renovation of Spanish art and placed it once again in the European avant-garde. Eduardo Arranz Bravo trained at the School of Fine Arts of Sant Jordi, in Barcelona, between 1959 and 1962. He made his individual debut in 1961, at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was the one organized by the Ateneo of Barcelona in 1961. Between 1968 and 1970 he was part of the group formed by Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint exhibitions with individual ones. The contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has had exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art of São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His awards include the II International Biennial of Sport, the figure award of the Biennial Estrada Saladich, and the Ynglada-Guillot drawing award. His work can be found in the Reina Sofia Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.

Valorac. 5 000 - 6 000 EUR

Lote 8 - BRIAN DETTMER (Naperville, Illinois. 1974). "Paper-desk," 2007. Mixed media. Signed, titled and dated. Measurements: 47 x 46.5 x 10.5 cm. 49 x 99 x 13 cm. (with urn). Brian Dettmer became known for his surprising alterations of paper supports, such as old books, newspapers and maps, to create a new work. It is in this vein that the present work is situated, an abstract and textured composition that originates from recycling. Much of Dettmer's current work consists of altering books, such as old dictionaries, encyclopedias, textbooks, science and engineering books, art books, medical guides, history books, atlases, comics, wallpaper samplers and others. Dettmer stamps and trims the books, exposing selected images and text to create intricate three-dimensional derivative works that reveal new or alternative interpretations of the books. Dettmer never inserts or displaces the content of the books (Moayeri 2008). This process is carried out with no pre-planning or tracing of the contents before cutting the book (Cullum 2010). While cutting away the unwanted material with knives, tweezers and surgical tools, Dettmer stabilizes the remaining paper with a varnish. (Fox 2009). An early example of Dettmer's altered books is his 2003 work, New International Dictionary, an original 1947 unabridged dictionary, stamped and cut to expose images within the dictionary (Sundell 2005, at p. 70). Dettmer has subsequently expanded his process by folding, creasing, folding, rolling or stacking one or more books before sealing and cutting them or, in some cases, sanding them to create various forms. Dettmer has also constructed larger sculptures using complete sets of encyclopedias and other reference books. Other notable examples of media transformed by Dettmer include music cassette tapes melted down and turned into a life-size human skeleton (Tyson 2007) and various animal skulls; cut-up and overlaid road maps of the United States and the Middle East (Packer 2005) and three-dimensional map sculptures; VHS videotapes of gangster movies unraveled and turned into funeral flower arrangements; and a controversial reconfiguration of audio excerpts from George W. Bush's 2002 State of the Union Address (Feigly 2003) (Feigly 2003). Brian Dettmer's work has been published and exhibited widely in museums, art centers and galleries around the world, including the Smithsonian (Washington D.C. ), Museum of Arts and Design (New York), Virginia Museum of Contemporary Art (Virginia), Museum of Contemporary Art (Georgia), Museum Rijswijh (Netherlands), Wellcome Collection (United Kingdom), Bellevue Arts Museum (Washington), The Kohler Arts Center (Wisconsin), Pérez Art Museum Miami (Florida),[1] and Illinois State Museum (Illinois). His work is in public and private collections in the United States, Latin America, Europe, Australia and Asia.

Valorac. 5 000 - 6 000 EUR

Lote 9 - JAUME PLENSA (Barcelona, 1955). Untitled, 1984. Mixed media on panel. Signed and dated in the upper area. Measurements: 86 x 64 cm; 90,5 x 68 cm (frame). In this work Plensa uses materials linked to tradition and constructs with them an image close to expressionism, easily recognisable as human but nevertheless disrupted, incomplete and in a certain metamorphic way, captured in full transformation. The artist combines a firm, sure stroke, enhanced by the white that outlines the figure, with a material treatment of the paper, burning and perforating it to reach the third dimension, thus breaking with the traditional two-dimensional aspect of painting, in an aesthetic line inherited from Informalism - with its appreciation of textures, materials and chance - but, at the same time, completely new and personal. 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 was recently awarded an honorary doctorate 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 mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held 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 unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. 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, and the National Prize for Plastic Arts in 1997, awarded by 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 in 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 and the Museo Reina Sofía in Madrid.

Valorac. 18 000 - 20 000 EUR

Lote 10 - JOSEP PUIGMARTI VALLS (Monistrol de Calders, 1932-2020). "Mask", 1995. Oil and collage on canvas. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 73 x 60 cm; 82 x 69 cm (frame). Josep Puigmartí was a self-taught Spanish painter and sculptor who developed his style outside the conventions and artistic trends of each period. During the 60s, 70s and 80s, he introduced in his surrealist paintings a whole iconography of erotic style that earned him the consideration of a transgressor artist who practiced a provocative style, by the critics of the time. In 2007 the town council of the border town of Bourg-Madame (France) declared him a favourite son, giving him the keys to the town and dedicating a permanent museum called Espace d'art Puigmartí to him. As a result of his many travels around the world, he exhibited in Spain, Andorra, France, Monaco, Sweden, Denmark, Japan, Abu Dhabi, Colombia, the United States and the China Millennium Monument Contemporary Art Museum in Beijing.

Valorac. 1 500 - 1 800 EUR

Lote 11 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Volteig", 1990. Oil on canvas. Signed, dated and titled on the back. Measurements: 195 x 204 cm; 207 x 206,5 cm (frame). Llimós became known in 1964, with a joint exhibition with, among others, Arranz Bravo, Bartolozzi and Gerard Sala, with whom he worked as a team until 1969. His work can be found in outstanding collections such as the National Art Museum of Catalonia, the Espirito Santo Museum of Modern Art in Brazil, the Contemporary Art Collection in Madrid, the Fine Arts Museums of Alava and Seville, the Fondazione Lucio Amelio in Naples, the Salvador Allende International Museum of Resistance in Santiago de Chile, the Peter Stuyvesant Foundation in Amsterdam, the Palau Solleric in Palma de Mallorca and the MACBA in Barcelona, among others. His work, with an expressive and intense stroke, oscillates between figuration and symbolic abstraction, with a strong attraction for the animal world, often the subject of his work, as can be seen in the painting we now present.

Valorac. 2 000 - 2 500 EUR

Lote 12 - JAVIER MARISCAL (Almazora, Castellón, 1950). Untitled. Barcelona, Palo Alto, May 2006. Oil on canvas. Signed and dated in the right margin; signed, located and dated on the back. Measurements: Javier Mariscal's mastery in composing animated scenes, crowds ignited by the magic of the night, has no competitors. With a carefree style, he arranges the characters in this canvas in an apparently random way, but beneath the apparent chaos of spotlights, toasts, smiles, bodies and tables lies a compositional rigor that is the fruit of genuine gifts. Mariscal drinks from comics, but transforms the cartoon into a sociological and plastic incursion. We recognize his signature in each of his characters, those synthetic faces and some of them slightly dog-like, reminiscent of one of the most famous mascots of the last decades. A renowned industrial designer, cartoonist and comic artist, Javier Mariscal has lived and worked in Barcelona since 1970. He studied design at the Elisava School in Barcelona, but soon abandoned his studies to learn directly from his surroundings and follow his own creative impulses. He began his career in the world of underground comics in publications such as "El Rrollo Enmascarado" or "Star", along with Farry, Nazario and Pepichek. After making his first own comics in the mid-seventies, in 1979 he designed the Bar Cel Ona logo, a work for which he began to be known by the general public. The following year the Dúplex opened in Valencia, the first bar signed by Mariscal, together with Fernando Salas, for which he designed one of his most famous pieces, the Dúplex stool, a true icon of design in the eighties both inside and outside our borders. In 1981 his work as a furniture designer led him to participate in the exhibition of the Memphis Group in Milan. In 1987 he exhibited at the Georges Pompidou Center in Paris and participated in the Documenta in Kassel. Two years later his design Cobi is chosen as the mascot for the 1992 Barcelona Olympic Games, controversial at first but now recognized as the most profitable mascot in the history of the modern Games. In 1989 he created Estudio Mariscal and collaborated on various projects with designers and architects such as Arata Isozaki, Alfredo Arribas, Fernando Salas, Fernando Amat and Pepe Cortés. Among his most outstanding works are the visual identities for the Swedish Socialist Party, the Onda Cero radio station, the Barcelona Zoo, the University of Valencia, the Lighthouse design and architecture center in Glasgow, the GranShip cultural center in Japan, and the London post-production company Framestore. In 1999 he received the National Design Prize, awarded by the Spanish Ministry of Industry and the BCD Foundation in recognition of his entire professional career.

Valorac. 9 000 - 10 000 EUR

Lote 13 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 2005. Mixed media (oil and assemblage) on canvas. Signed and dated. Measurements: 154,5 x 120 x 5 cm. The use of assemblage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings in his last period. He returns to his informalist beginnings, but enriches them by investigating the effects of different procedures on unorthodox supports. The strong contrast between blacks, reds, and whites, curled like unleashed waves, suggest storms and other phenomena in which nature reveals itself in all its fervor. Guinovart abstracted from the observation of nature and reflection on the physical properties of painting a unique visual language. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He soon acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Valorac. 8 000 - 9 000 EUR

Lote 14 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Lilac door" 1992. Oil on canvas. Dated, titled and signed on the back. With label of the gallery Trama. Measurements: 195 x 115 cm; 197 x 117 cm (frame). Llimós became known in 1964, with a joint exhibition with, among others, Arranz Bravo, Bartolozzi and Gerard Sala, with whom he worked as a team until 1969. His work can be found in outstanding collections such as the National Art Museum of Catalonia, the Espirito Santo Museum of Modern Art in Brazil, the Contemporary Art Collection in Madrid, the Fine Arts Museums of Alava and Seville, the Fondazione Lucio Amelio in Naples, the Salvador Allende International Museum of Resistance in Santiago de Chile, the Peter Stuyvesant Foundation in Amsterdam, the Palau Solleric in Palma de Mallorca and the MACBA in Barcelona, among others. His work, with an expressive and intense stroke, oscillates between figuration and symbolic abstraction, with a strong attraction for the animal world, often the subject of his work, as can be seen in the painting we now present.

Valorac. 2 000 - 2 500 EUR

Lote 15 - ALICIA FRAMIS (Mataró, 1967). "Parnasia", 2002. Photography, ed. 2/3. Measurements: 122 x 155 cm. Alicia Framis was born in 1967 in Mataró, Barcelona. She studied Fine Arts at the University of Barcelona and the School of Fine Arts in Paris. She completed her training at the Institut d'Hautes Etudes, Paris and at the Rijksakademie van beeldende kunsten, Amsterdam. Alicia has lived and worked in Barcelona (1985-1990), Paris (1990-1993), and Amsterdam (1995-2005). Alicia Framis currently lives and works in Amsterdam. She is a multidisciplinary artist whose work oscillates between the disciplines of architecture, object design, fashion and performance. Her projects openly raise various problematic questions about the conventional ways in which the contemporary world organizes its political, moral and affective agendas. Framis articulates unconventional, often even fictitious, proposals to address and respond to real social dilemmas. In 2023 he announced his new project, his wedding with a hologram named AiLex, a virtual companion created by Articifial Intelligence. The wedding is scheduled for the summer of 2024.

Valorac. 1 800 - 2 200 EUR

Lote 16 - JOSÉ MALDONADO (Madrid, 1962). Untitled. 1992. Acrylic paint, varnish and charcoal on canvas. Measurements: 90 x 90 cm. Self-taught, José Maldonado began his activity in 1982, collaborating as an illustrator and collaborating artist in publications of the time such as La Luna de Madrid, Madrid Me Mata, Madriz and others. The artistic project that the artist has been developing during the last 15 years is focused on the impossibility of constituting an image and representation of reality that is full and intimate and at the same time capable of establishing a deep communicative link. José Maldonado says: "My work is based on suspicion, and also on the conviction of an extreme difficulty of reading and incomprehension, also extreme... that the work and the work of the artist try to save through the assumption of a void or gap, a blank space, perhaps devoid of meaning, in which communication occurs in an unregulated way (implosive and explosive). The project is in essence an allegory of communication and the desire to interpret the world and give ourselves to it as if it were our neighbor... or ourselves". José Maldonado has shown his work in international galleries such as Juana Mordo, Toni Estrany, Froment & Putman, Denise Van de Velde or Helga de Alvear, and in exhibitions held, among others, at the Prospect in Frankfurt, the CAPC in Bordeaux or the Institute of Contemporary Art in Lyon, among others. His works are kept in museums such as the Museo Nacional de Arte Reina Sofía in Madrid, the Museo Patio Herreriano, the Ulster Museum in Belfast or the Marugame Hirai Museum in Tokyo.

Valorac. 1 200 - 1 500 EUR

Lote 17 - XAVIER MEDINA CAMPENY (Barcelona, 1943). Untitled. Sculpture in bronze, copy 4/5. Signed and justified on the base. With seal of Fundición Artística Vila. Measurements: 51 x 65 x 37 cm. From the beginning of the seventies date a series of pieces of Medina Campeny whose theme is the human head, focused from multiple points of view, submitting it to modifications. Xavier Medina Campeny, grandson of the sculptor Josep Campeny and great-grandson of Damià Campeny, is a sculptor of self-taught training, who evolved his artistic mood towards a very personal style. He began studying architecture in Barcelona, but abandoned his studies to start in the world of sculpture. It was during this period that he dedicated himself to this art, with a self-taught training. His long artistic career as a sculptor has led him to work with various techniques and materials. As for his first exhibition, he made it in 1964. After ten years he moved to New York, where he created most of his artistic production. After a few years he returned to Spain to stay. His style is closely related to the avant-garde, more specifically with Dadaism. His mastery of drawing has also helped him to relate organic elements with geometric forms. During the years 1975 to 1989, he developed a plastic language of the human body, being a mixture of the anatomical with geometry, which he himself called "fragmentations". At the time of making these bodies, Medina crumbles, divides and geometrizes the parts of the human body to later rejoin them, in order to highlight some parts that he leaves empty. The work Conversación (1979) reflects and tells us about the contrast between the absent and the present. On the other hand, the work The mirror in Atlantic Ocean, balances the form with the background and works the body without fragmenting it. Medina's work can be related to surrealist proposals. For example, in the group Mimetismo animal (Animal mimicry), human attitudes with ironic expressions can be seen in the animals. Since 2003 there has been a change in the artist's style with respect to the human body, in which he simplifies the forms and transforms them into elongated cylinders that for him are "pieces" with a symbolic meaning. Medina and Campeny's works have been exhibited both in Europe and America, where he has several works in museums and important institutions, such as: Museo Nacional de Arte Reina Sofia in Madrid, MACBA in Barcelona, Pagani Foundation in Legnano, Italy, Everson Museum in Syracuse (USA), Jimmy Carter Library & Museum in Atlanta, Georgia (USA), Bears Foundation in New York (USA), North Carolina Museum of Art (USA), among others.

Valorac. 1 200 - 1 500 EUR

Lote 18 - MARKUS ÖEHLEN (Krefeld, North Rhine-Westphalia, 1956). "Securitator". 2005. Oil on canvas. Signed and dated on the back. With Juana de Aizpuru gallery label on the back. Measurements: 250 x 200 cm: 253 x 203 cm (frame). In paintings like this one, Markus Öehlen tests our ability to see behind the images, transcending the surface reading to which visual culture throws us. Human figures and other more ambiguous, somewhat ominous ones, are superimposed on planes of color and different textures, suggesting infinite layers of reading and interpretation. The plastic richness of this work results from the in-depth study of different styles, from the optical experimentation of kinetic art added to the legacy of abstract expressionism and oneiric automatism. He seems to intersperse mechanical processes with spontaneous pictorial stains. And yet, he only uses the oil technique. Oehlen's elaborate treatment of surfaces produces a magnetic effect by replacing banal reality with complex representation. Markus Öehlen is a German visual artist who works with painting, sculpture and music. In the 1970s and 1980s he was a founding member of the influential neo-expressionist art movement Neue Wilde in Düsseldorf together with Martin Kippenberger, Markus Lüpertz and his brother Albert Oehlen. Oehlen studied at the Kunstakademie Düsseldorf (Alfonso Hüppi). He uses a punk style that opposes minimalism. The aim was to attack the nature of minimalism with a style of painting that is based on instinct and gesturally emphasizes the wild, spontaneous, obsessive and sensual. Oehlen has continuously developed his work, in parallel with painting, sculpture and musical projects. His new works are increasingly inspired by the perceptual experiments of Op Art, with printed image interferences occurring in grid-like patterns above and below the image layers. Markus Oehlen's complex, layered images are composed of a plethora of found images, shapes and distorted pictorial elements that, taken out of their previous context, take on new function and meaning. By rearranging the individual compositional elements of the canvases in the context of the art, Oehlen creates surreal still lifes that were not originally intended for it, playing with the notion of randomness and suggesting strange narratives. The images on large canvases convince with their radical approach to painting. He participated in the group exhibition Von hier aus - Zwei Monate neue deutsche Kunst in Düsseldorf in 1984. In 1993 he exhibited at the Museum of Modern Art in New York: "Projects 39"- with Georg Herold. In addition Oehlen was a founding member of the bands Mittagspause, Fehlfarben, Flying Klassenfeind, Vielleichtors and Van Oehlen. Since 2002, he has been a professor at the Academy of Fine Arts in Munich.

Valorac. 25 000 - 30 000 EUR

Lote 19 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Merce Cunningham and Dance Company, 1966. For show in Sitges on July 29, 1966. Avant Lettre lithograph, issue 97/200. Signed in plate and numbered in pencil. Measurements: 73,5 x 50 cm. 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.

Valorac. 700 - 750 EUR

Lote 20 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "L'oeil", 1984. Etching in two plates on Arches paper, copy 4/50. Signed and numbered by hand. Tàpies Galfetti V, p. 183, fig. 952. Measurements: 12 x 21 cm (print 1); 30 x 40 cm (print 2); 50 x 65 cm (paper). Antoni Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Valorac. 800 - 900 EUR

Lote 21 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Le plus beau cadeau", 1975. Etching and carborundum engraving in gray and brown, copy 37/80. Signed and numbered in pencil. Tàpies Galfetti V, p. 90, fig. 1513. Measurements: 63,5 x 45,5 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his studies of Law to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Valorac. 1 200 - 1 500 EUR

Lote 22 - ALEXANDER CALDER (United States, 1898 - 1976). "Cercles noir, bleu, rouge", 1975. Lithograph, copy H.C. Signed and justified by hand. Measurements: 65 x 50 cm; 75 x 59 cm (frame). The lithograph that we present brings together many of the identifying aspects of Calder's painting: the serene simplicity of abstract forms, full and primary colors, and formal dynamism. Calder studied at the Art Students League in New York, and in 1926 he held his first painting exhibition at The Artist's Gallery in New York. Before the end of the year he began his trip to Europe, which allowed him to meet the great figures of the time, such as Miró, Duchamp and Mondrian. Calder is one of the most renowned artists of the 20th century, with works in all the great collections of the world. From the MoMA in New York, where one of his sculptures decorates the main staircase, to the UNESCO headquarters in Paris. Other centers where he is represented are the Guggenheim Museum in New York, the Peggy Guggenheim Collection in Venice, the Städel in Frankfurt, the Kunstmuseum in Basel, the Reina Sofía in Madrid and the Tate Gallery in London.

Valorac. 1 800 - 2 000 EUR

Lote 23 - PEPE YAGÜES (Molina de Segura, Murcia, 1968). "Es tocada", 1999. Mixed media on paper. Signed and dated in the lower right corner. Measurements: 96 x 172 cm; 125 x 202 cm (frame). Painter, engraver and sculptor, Pepe Yagües was trained at the School of Arts and Crafts in Murcia and at the Faculty of Fine Arts in Granada. In 1991 he obtained a scholarship from the Ministry of Education, and in 1992 he graduated from the Faculty of Valencia and was awarded a prize by the Cañada Blanch Foundation. In the following years, successes and projects followed, and since 1997 he has participated assiduously in the Madrid fair Arco. Yagües has held exhibitions in Spain and abroad, and is represented at the Museo del Grabado Español Contemporáneo in Marbella, the Cruz Herrera, the Adra in Almería, the Municipal in Valencia, the Museo del Grabado in Orense, the Postal and Telegraphic Museum in Madrid, the Calcografía Nacional and the Casa Natal de Goya in Zaragoza.

Valorac. 1 000 - 1 200 EUR

Lote 24 - CLAUDIO BRAVO CAMUS (Valparaiso 1936 - Taroudant, Morocco 2011). Untitled, 1950. Charcoal and white pencil on paper. Framed with museum glass. Signed and dated in the lower right corner. Measurements: 70 x 125 cm; 95 x 152 cm (frame). The sensuality of this evocative work completely dominates the composition. A nude woman in a complex foreshortening is shown before the viewer completely oblivious to him. Her delicate and feminine anatomy is defined by a truthful volume, although not without a lack of transcendent idealization towards a classical beauty. The marked volumes, through the use of shadows and light, provide three-dimensionality to this body that seems to float in a light space, where the ideal is the woman's body as a concept, not a concrete woman, since we do not see her face, but the symbol of the feminine. The precision of the drawing and the technical quality of the work create a great game between reality and the imaginative that keeps the viewer expectant before the visual paradox posed by the author, a recurring feature in the work of Claudio Bravo. Born into a wealthy family of Chilean landowners, from an early age he had a clear artistic vocation and did not want to be part of the family business despite his father's insistence on his first son. He studied in a religious school and although with age he rejected all the Catholic dogmas learned in his childhood, he always had a certain interest in the mysterious aspects of religious life and a fascination for the lives of the saints. His style is influenced by classical and Renaissance perfection, as can be seen in the work we present here. He had his first exhibition at the Salon 13 in Santiago de Chile in 1954 at the age of 18. He discovers Dalí's surrealism, whose influence will be palpable in some of his future works, but always with a personal imprint. He obtains certain fame in Latin America and Europe as a portrait painter, a genre that he will never abandon since, in spite of the fact that he began to find it boring, it provided him with economic stability and an important social status. In 1961 he finally left Chile and arrived in Spain, settling in the capital of Madrid where he continued to cultivate fame and fortune until the beginning of the 70's when, finally, he headed for Tangiers, captivated, as he explained, by an incomparable light and climate. In 1981 he held his first exhibition at the Marlborough Gallery in New York, a gallery that has represented him internationally ever since, and in 1994 he held a major solo exhibition at the National Museum of Fine Arts, which became one of the most attended in history. For his merits and artistic contributions, he was granted Spanish nationality by the Spanish Council of Ministers on July 1, 2002.

Valorac. 45 000 - 50 000 EUR

Lote 25 - JOAN MIRÓ I FERRÁ, (Barcelona, 1893 - Palma de Mallorca, 1983). "Album 21", 1978. Color lithograph on Archès paper. Copy 41/75. Edited by Maeght Gallery. With certificate from National Art Brokers Inc. Hand signed and numbered. Measurements: 64 x 49 cm; 100 x 85 cm (frame). Joan Miró is formed in Barcelona, between the School of the Fish market and the Galí Academy. Already in the early date of 1918 he realizes his first exhibition, in the Galleries Dalmau of Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would mean his definitive international consecration. During the fifties he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. Edited by Maeght Gallery. Certified by National Art Brokers Inc.

Valorac. 3 500 - 4 000 EUR

Lote 26 - AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007). "Emeraude". Oil on canvas. Signed in the lower left corner. Signed, titled and located on the back. Measurements: 131 x 162 cm; 135 x 166 cm (frame). Surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcazar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he settled in Paris, thanks to a scholarship from the French Institute. After winning two consecutive prizes in the Young French Painting Contest, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Gold Mill of the XXI Manchegan Exhibition of Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca Gallery in Madrid, to the United States, the world center of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Ubeda continued to receive important awards throughout his long career, especially highlighting the Grand Prize for Painting of the Circle of Fine Arts in 1980. Likewise, in 1998 the Centro Cultural de la Villa de Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition of thirty-five paintings at the Caja de San Fernando in Seville, dedicated to three of his constant themes: the landscape, the female nude and the still life. Agustín Úbeda has held individual exhibitions in several Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the Villa in Geneva and Paris, the Museum of Fine Arts in Jaen, the Museum of Contemporary Art in Badajoz, the Museum of Modern Art in Valdepeñas, the Museum of Engraving in Marbella, the Municipal Museum in Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum in Zaragoza, the Provincial Museum in Ciudad Real and, in the United States, the Museums of New Mexico, San Diego, Phoenix, Lowe in Miami and Evansille in Indiana.

Valorac. 4 000 - 4 500 EUR

Lote 27 - MIGUEL RASERO (Doña Mencía, Córdoba, 1955). Untitled, 1988. Oil and collage on canvas. Signed with initials and dated on the back. Measurements: 145 x 112 cm; 164 x 133 cm (frame). Painter and graphic artist, Rasero develops a work that goes beyond traditional artistic approaches to present compositions that seek to establish a balance between fragile or impossible forms with the space that surrounds them. Likewise, the author establishes a dialogue between interior and exterior, as well as with the limits and boundaries that facilitate and stimulate the imagination. His work has Kurt Schwitters and Malevich as main references. Rasero has developed his career in Barcelona, where he was awarded the Generalitat de Catalunya Scholarship for the Arts in 1982. In 1984 he won second prize at the Biennial of Painting in the same city, and has shown his paintings in prominent national and international galleries, such as Gaspar in Barcelona, Trama in Madrid, Pelaires in Palma, Puerta Nueva in Cordoba and Philippe Guimiot in Brussels and New York. In 2001 he presented his work in a group exhibition held at the Museo Pedro de Osma in Lima (Peru), and has participated in several editions of the Arco art fair in Madrid. He is represented in the MACBA in Barcelona, in the Fundación La Caixa, in the collection of the Rotschild Bank in Switzerland, in the Travelstead Collection in New York and in that of Banco Santander.

Valorac. 1 500 - 1 600 EUR

Lote 28 - ANDREU ALFARO HERNÁNDEZ, (La Huerta, Valencia, 1929 - 2012). "Calatá Power (B)" 1967. Sculpture in stainless steel polychrome red, copy 87/500. Signed and numbered on the base. Referenced in the catalog raisonné, page 219. Measurements: 38 x 10.5 x 10.5 cm. Sculptor related to the Parpalló Group (1957), and influenced by Jorge Oteiza and the constructivists, like Brancusi or Pevsner, from his first works of importance Andreu Alfaro manifested his preoccupation to integrate the sculpture in a defined architectural space. In 1961, with "La Rella", he began a second stage in which he concretized the link between artistic activity and the social community, followed by "La veu d'un poble" (1964-65) and "Monument a l'amor" (1965-66). During these years he acquired international renown through his participation in the 1966 Venice Biennale, where he showed "My black brother". During the last years of the sixties Alfaro entered a new stage, in which he experimented with metallic elements, creating works of kinetic character or spatial research. From this period are well known samples "Bon dia llibertat" (1975) and "Catalan power" (1976). Also during these years he began to show a special interest in large sculptures, which he exhibited in the Cervantes Park in Barcelona (1977). He also designed several monuments such as the "Monument als Països Catalans" in Tárrega (1981). This period also marks the beginning of his international projection and, undoubtedly, the moment of maturity of one of the most important Catalan sculptors. However, around 1980 he sought to recover an almost calligraphic stylization in his works, which led him to experiment with wire. At the same time, he begins to incorporate marble into his production, which can be defined as a fair combination of lucid elements and constructive purism. The geometric structure of his works, always changing according to the observer's point of view, is always endowed with a great plastic force. In 1983 Alfaro made a sculpture in homage to the painter E. Sempere in Madrid. During this period he also created other outdoor sculptures in Frankfurt (1986), Madrid (1990) and Barcelona (1991). In 1996 he installed in Tarrasa a sculpture dedicated to the working woman, in 1999 he erected the "Columnes de l'Autònoma" in the university of Barcelona, and in 2001 he made a monument in memory of the victims of Nazism in Vilanova i la Geltrú. On the occasion of the Verdaguer year, in 2002 a monumental commemorative sculpture of the Catalan poet was inaugurated in the city of Vic, and in 2003 he created the sculpture "Ones" at the entrance to Barcelona. Throughout his career, Alfaro has held solo exhibitions in Spain as well as in Germany, Italy and the Netherlands, and has taken part in important group exhibitions around the world. He has also received numerous awards, including the Jaume I Honor Award (1980), the National Plastic Arts Award (1981) and the Alfons Roig Plastic Arts Award from the Diputación de Valencia (1991). He is currently represented at the Reina Sofía Museum and the Conde Duque Center in Madrid, the IVAM and the Patio Herreriano in Valladolid, among others. Referenced in the catalog raisonné, p. 219.

Valorac. 2 600 - 2 800 EUR

Lote 29 - JOAN RIPOLLÉS (Castellón, 1932). "The painter". Mixed media on canvas. Signed and dated in the lower left corner. Measurements: 130 x 97 cm. Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the postwar period, he entered to work in an industrial painting workshop. From then on he dedicated himself to painting at night, and later he took drawing classes at the Ribalta High School in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. He organizes his first important individual exhibition at the MACBA in Barcelona in 1962, and in 1967 he travels to New York, where he exhibits and sells his entire collection to The William Haber Art Collection. From that moment on, he began a dazzling international career that has taken his work all over the world. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several American cities, Germany and Japan. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

Valorac. 3 000 - 4 000 EUR

Lote 30 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009). Untitled. 2002. Mixed media and wax on paper. Signed and dated. Measurements: 36 x 37 cm; 68,5 x 70 cm (frame). Painter, pedagogue, writer and graphic artist, Ràfols Casamada enjoys today great international prestige. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received a multitude of awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Arts Award in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the National Art Museum of Catalonia. His work can be found in the most important museums around the world: the Reina Sofia in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and the Tate Gallery in London, among many others.

Valorac. 2 400 - 3 000 EUR

Lote 31 - CARMEN CALVO (Valencia, 1950). "I'm sad but not with an end", 2007. Intervened photography on paper. Signed and dated by hand. Measurements: 54 x 38 cm; 70 x 54 x 6 cm (frame). One of the passions of the artist Carmen Calvo is to stroll through flea markets and leaf through old albums in search of old photographs to intervene, thus offering a renewed vision of the ancient anonymous snapshots taken in the past. Unknown characters in black and white, often in group photographs, transform their identity through the inclusion of masks and other surreal elements. Carmen Calvo studied at the Schools of Arts and Crafts and Fine Arts in Valencia, and graduated in advertising in 1970. She would later broaden her training thanks to scholarships from the Ministry of Culture (1980), the Casa de Velázquez in Madrid (1983-85) and the Ministry of Foreign Affairs, for her residence in Paris (1985-92). During these years Calvo began to be recognized, receiving distinctions such as the I LaSalle Seiko Painting Prize of Barcelona (1985), the Alfons Roig of the Diputación Valenciana (1989), a scholarship in the I Biennial Martínez Guerricabeitia of the University of Valencia (1989), and the selection for the XLVII Biennial of Venice (1997). The artist had begun her exhibition activity in 1969, taking part in a group show held at the Círculo Universitario de Valencia. She made her individual debut in 1976 at the Temps gallery in her native city, and since then she has shown her work individually in various cities in Spain and the United States, as well as in other countries in Europe, America and Africa. Works by Carmen Calvo can currently be seen in art institutions, museums and private collections all over the world, including the Guggenheim Museum in New York, the Reina Sofia in Madrid, the Marugame Hirai in Kobe, the MACBA in Barcelona, the Fonds National d'Art Contemporain in Paris, the IVAM in Valencia, the Chase Manhattan Bank collection in New York, etc.

Valorac. 2 000 - 2 500 EUR

Lote 32 - ANTONIO LÓPEZ GARCÍA (Tomelloso, Ciudad Real, 1936). Artist's book. "Bodies and flowers", 2017. Copy 1546/2998. Edited by Artika. Signed and numbered. Hand-bound and hand-sewn book. Maple wood and glass slipcase. In the case is reproduced a preparatory drawing of "La mujer de Coslada" (2009) screen-printed in two inks. Measurements: 77 x 54,5 cm. Art Book by Antonio López. Numbered and signed copy. It covers the artistic career of this realist genius and allows us to enjoy his works even in the most delicate details, thanks to the life-size reproduction of many of his works. It also brings us closer to his sensations, his passions and obsessions, based on texts by Rafael Argullol and Antonio López himself, as well as an interview between the painter and Julio Vaquero. Painter and sculptor, Antonio López studied in Madrid, at the San Fernando Academy, and Italy, where he traveled thanks to a scholarship. During his student period he formed, together with other artists such as Enrique Gran, Amalia Avia or Lucio Muñoz, what has come to be called the Madrid School. After finishing his studies, in 1957, he made his individual debut in Madrid. Since then he reiterated his presence in galleries in Europe, the United States, China and Korea, and in 1993 the Reina Sofia Museum in Madrid dedicated an anthological exhibition to him. He is a member of the San Fernando Academy, and his awards include the Prince of Asturias Award for the Arts and the Velázquez Award for Plastic Arts. In 2008 the Museum of Fine Arts in Boston dedicated a monographic exhibition to him, and in 2011 the Thyssen-Bornemisza and the Museum of Fine Arts in Bilbao will do the same. He is represented at the Museum of Fine Arts in Boston, the ARTIUM in Vitoria, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Juan March Foundation and the Museum of Fine Arts in Bilbao, among others.

Valorac. 2 200 - 3 000 EUR

Lote 33 - Following models of FERNANDO BOTERO (Medellín, Colombia, 1932-Monaco, 2023). "Woman and bull". Bronze. With marks on the base. Measurements: 34,5 x 28 x 20 cm; 4 x 27 x 18,5 cm (base). Bronze sculpture representing a naked woman, with a long hair and voluminous body. She is seated sideways on the back of a bull, whose anatomy has also been resolved with Botero's characteristic rounded forms. Like the Colombian master, the bronze artist endows the female figure with a plean sensuality that is alien to the standards of beauty.

Valorac. 1 500 - 2 000 EUR

Lote 34 - EDUARDO NARANJO (Monesterio, Badajoz, 1944). "Mysterious Laura", 2007. Engraving, copy 3/99. Signed and justified in pencil. Measurements: 41.5 x 31.5 cm (print); 60 x 49 cm (paper); 63.5 x 52 cm (frame). Outstanding contemporary Spanish painter recognized for being one of the great exponents of magical dream realism. Eduardo Naranjo began his artistic training in 1957 with his teacher Eduardo Acosta, and that same year he entered the School of Arts and Crafts. In 1960 he continued his studies at the Escuela de Bellas Artes de Santa Isabel de Hungría in Seville, and a year later he moved to the Escuela de Bellas Artes San Fernando in Madrid, where he finished his studies. After his academic stage, Naranjo decided to move to Paris, where he became deeply acquainted with the work of Picasso and artists such as Matisse. His work is defined by the technical exploration of painting, although he has also worked with sculpture and in the field of scenography. In addition, between 1986 and 1991 he made a series of engravings for the book "Poeta en Nueva York" by Federico García Lorca. Eduardo Naranjo's artistic career includes important prizes and awards, such as the Luis de Morales de Badajoz prize (1974), the Medal of Extremadura (1991), the María de Salamanca National Engraving Prize of the Museum of Contemporary Spanish Engraving (1994) and the Cross of Military Merit for his contribution to the Arts and the Army (1995). Throughout his career he has held solo exhibitions all over the world, and today he is one of the most sought-after living Spanish painters. In fact his fame is international, being admired in countries as far away as China, where he has exhibited numerous times and has been invited to give master classes at universities in the country. Today his work is divided between private collections of international character and numerous public museums, among which stand out; the Museo Nacional Centro de Arte Reina Sofia in Madrid and the Nagasaki Museum in Japan, as well as in countless private collections, among them the Masaveu Collection in Oviedo.

Valorac. 600 - 700 EUR

Lote 35 - ALDO COMAS (Barcelona, 1985). Untitled. Oil on canvas. Signed in the lower right corner. Measurements: 38 x 46 cm. Painter, music producer, film director, businessman..., Aldo Comas is a multifaceted character. Husband of the actress Macarena Gómez, his paintings are known for their vibrant and colorful style. In one of his series, Aldo Comas has created a collection of works depicting the Dominican culture and spirit with "Dominican Mambo". Another particularly celebrated series is "London Edition". His most recent exhibition took place in February 2024 at the Bullfighting Museum of Cordoba. Likewise, his exhibition "Lobsters and guitars" could be visited at the Hotel Aguas de Ibiza.

Valorac. 1 500 - 2 000 EUR

Lote 36 - ÉRIC DU BELLAY (Chatenay Malabry, France, 1980) "Alone. Liberty, 2021. Digital print on Hahnemühle Fine Art Baryta FB paper, 350h. Copy 1/7. Certificate of authenticity attached. Signed and dated in the lower area. Measurements: 50 x 35 cm; 53 x 68 cm (frame). "I paint flowers, so they don't die" (Frida Khalo), this is how Éric du Bellay defines his work as a filmmaker and photographer. Éric du Bellay started photography at the age of 15. He developed his own black and white photos. From the beginning, his work focused on faces and bodies, as if he wanted to preserve the trace of the living. He left photography to pursue a career as a filmmaker. He made six short films in France and Iceland, and his first feature film, Menina Casilda, was shot in Madrid in 2021. He returned to photography in 2019 with his project Corps Vibrants, nudes made in studio in Paris, followed by his second project, Libertad, started in Madrid in 2021 as a response to the Pandemic restrictions. Influenced by the works of Marina Abramovic, Ren Hang, and Ryan McGinley, he explores representations of nude bodies in motion. Certificate of authenticity attached.

Valorac. 500 - 600 EUR

Lote 37 - ÉRIC DU BELLAY (Chatenay Malabry, France, 1980) "Homage to Ren Hang." Vibrant Bodies Project (Paris, France) 2019. Digital print on Hahnemühle Fine Art Baryta 325gsm paper. Copy 1/7. Certificate of authenticity attached. Signed and titled in the lower area. Measurements: 50 x 35 cm; 53 x 68 cm (frame). "I paint flowers, so they don't die" (Frida Khalo), this is how Éric du Bellay defines his work as a filmmaker and photographer. Éric du Bellay started photography at the age of 15. He developed his own black and white photos. From the beginning, his work focused on faces and bodies, as if he wanted to preserve the trace of the living. He left photography to pursue a career as a filmmaker. He made six short films in France and Iceland, and his first feature film, Menina Casilda, was shot in Madrid in 2021. He returned to photography in 2019 with his project Corps Vibrants, nudes made in studio in Paris, followed by his second project, Libertad, started in Madrid in 2021 as a response to the Pandemic restrictions. Influenced by the works of Marina Abramovic, Ren Hang, and Ryan McGinley, he explores representations of nude bodies in motion. Certificate of authenticity attached.

Valorac. 500 - 600 EUR

Lote 38 - SALVADOR DALÍ I DOMÈNECH (Figueras, 1904 - 1989). "Mythological warrior" and "Surrealist dancer", 1990. Porcelain enhanced in fine gold. Copies 1259 and 1621, respectively of an edition of 5000. Enclosed are certificates of authenticity and notarial deed from the Galda N. V. publishing house. Measurements: 31 cm (diameters, x2). Pair of enameled porcelain plates, whose design and ornamentation is the result of the Catalan artist, Dalí. Both were made on the occasion of the exhibition of the International Painting Fund in Barcelona on May 8, 1990. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache imitating Velázquez's, which would become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", in which scenes from the surrealist imaginary were shown. In August of that same year he met his muse and future wife Gala. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. His work greatly influenced the direction of surrealism for the next two years, being hailed as the creator of the paranoiac-critical method that was said to help access the subconscious by releasing creative artistic energies. In 1931 Dalí painted one of his most famous works, "The Persistence of Memory", in which, according to some theories, he illustrated his rejection of time as a rigid or deterministic entity. The painter landed in America in 1934, thanks to art dealer Julian Levy. As a result of his first individual exhibition in New York, his international projection was definitively consolidated, and from then on he would show his work and give lectures all over the world. That same year he was subjected to a "surrealist trial" which resulted in his expulsion from the movement, because the painter considered that surrealism could exist in an apolitical context, refusing to commit himself to the ideas of André Breton. To this, Dalí responded with his famous retort, "I am surrealism". Most of his production is gathered in the Dalí Theater-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London. Certificates of authenticity and notarial deed of Galda N. V. are enclosed.

Valorac. 300 - 350 EUR

Lote 39 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "United Nations Peace-Keeping Operations, 1980. Lithograph on Super Alfa paper. Copy 190/1500. Attached certificate of authenticity issued by World Federation of United Nations in 1980. Framed in museum glass. Presents dry stamp of World Federation of United Nations, and commemorative philatelic stamp. Signed in plate and numbered. Measurements: 28,5 x 21,7 cm. Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moves to Paris and meets Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo. This lithograph shows us the most essentialist Miró in his search for minimal and suggestive forms. The ranges limited to a few colors applied on flat and shiny surfaces, combine to evoke the lyrical communion of man and the environment. Certificate of authenticity issued by World Federation of United Nations in 1980. Framed in museum glass.

Valorac. 500 - 600 EUR

Lote 40 - MARK WALLINGER (Chigwell, England, 1959). "Ghost." Silkscreen, copy 422/500. Hand signed and numbered on the back. Measurements: 55 x 47 cm; 60 x 52,5 cm (frame). The white unicorn, a figure that often symbolizes unattainable purity, is impregnated in Mark Wallinger's work with political connotations, suggesting an ambiguous approach: the title and the image of photographic appearance emphasizes its ghostly essence, of mythical creature. But, at the same time, it suggests that utopia (ideals) continues to stir us up inside. English artist Mark Wallinger is known for his ability to use art as a tool for social and political commentary, combining intellectual rigor with a deep sense of history and culture. He emerged as part of the generation of British artists that formed in the 1980s and 1990s, often associated with the Young British Artists (YBAs). However, his approach has been more conceptual and political than many of his contemporaries. Wallinger addresses issues of identity, spirituality and power, often questioning authority and exploring subjectivity. His work can be both direct and ironic, using cultural and religious symbols to provoke reflection. Having been nominated for the Turner Prize in 1995, he won it in 2007 for his installation State Britain. His work Ecce Homo (1999-2000) was the first to occupy the empty fourth plinth in Trafalgar Square. He has represented Britain at the Venice Biennale, Documenta in Kassel and the Istanbul Biennial, among other international art events. Labyrinth (2013), a permanent commission for Art on the Underground, was created to celebrate 150 years of the London Underground. In 2018, the permanent work Writ in Water was made for the National Trust to celebrate the site where Magna Carta was signed at Runnymede. He has held exhibitions at major art institutions such as Tate Britain in London, the Museum of Modern Art in Frankfurt, and the Du Mont Foundation in Cologne.

Valorac. 5 000 - 6 000 EUR

Lote 41 - PABLO GENOVÉS (Madrid, 1959). "The dancer", 2001. Cibachrome between methacrylate and aluminum. Copy 3/3. Signed, dated, titled and justified on the back. Measurements: 187 x 121 cm. The visionary photomontages of Pablo Genovés, are a metaphor of the disappearance of human civilization on the planet. His fascinating nightmarish images, in which the human figure is not represented, cause a sensation of fear and admiration in the spectator and transmit the idea of the urgency of establishing a new relationship between the human being and the earth that is not based on its plundering. Pablo Genovés is a Spanish photographer who uses photographic-digital and pictorial techniques. In his beginnings he painted directly on the photographs, adding abundant colors; later he changed his criteria to black and white with very sporadic color additions. His work explores the concepts of memory, past and reality; his combination of photography and painting gives his images a character of their own. In this mixture of languages, he seeks to show the pros and cons of human existence. Some of his photographic series show luxurious architectural spaces (palaces, libraries, theaters) under the effects of the forces of nature.3 These photographs are composed of earlier, anonymous ones, which the artist found in street markets and digitally manipulated.

Valorac. 5 500 - 6 500 EUR

Lote 42 - VIACHESLAV PLOTNIKOV (Russia, 1962). "Dreams". Oil on canvas. Signed, dated and titled on the back. On the back is a poster of the 3rd edition of Monaco Fine Arts (2006), in which this painting is reproduced. Measurements: 140 x 140 cm; 164 x 164 cm (frame). A series of views of Monte Carlo and its casino worked in grisaille (in a set of sepias that simulate reproducing old photographs) surround a central portrait in vibrant colors of a woman wearing an exuberant hat. With unusual virtuosity, the painter simulates (using entirely the oil technique) the juxtaposition of different sheets, as if they were postcards or photographs from the 1920s. The portrait shows a young woman with her shoulders covered by a sumptuous white and feathery stole. She wears her hands sheathed in long maroon leather gloves. Her long fingers fiddle with the pearls of the necklace and with the other hand she caresses the colorful feathers of the pamela. The lady's face denotes elegance: finely outlined carmine lips, languid honey-colored gaze, rosy cheekbones. Vyacheslav Plotnikov's plastic skills can be seen in each of the urban and coastal corners, as well as in the enigmatic portrait. The portrayed woman embodies the sophistication of the glamorous city of Monte Carlo in the 1920s, which is the date shown in one of the oil photographs of the casino. Vyacheslav Plotnikov is a painter based in Monaco, profusely awarded with prizes and exhibitions. He is included in collections in Monaco and France. He is a member of the Monegasque National Committee of L'A.I.A.P., U.N.E.S.C.O. Sous le haut patronage de S.A.S. le Prince Souverain Albert II He trained at the Academy of Fine Arts, Rome (1994-1995) and at the Academy of Art Shtutgardt, Germany (1993). Previously, at the Moscow State Art Institute "Surikov" (student of Professor Ilia Glasunov, specialty "Portrait", 1987-1993). Selected exhibitions: 2017 ,December 4-6 - Miami River Art Fair, Nina Torres Fine Art Gallery, Miami, USA 2017,December Monaco Auction , Accademia Fine Art Gallery, Monte-Carlo, Monaco 2017,January Monaco Auction, Accademia Fine Art Gallery, Monte-Carlo, Monaco 2016,December- Miami River Art Fair 2016, Nina Torres Fine Art Gallery, Miami, USA. 2016,June- Monte-Carlo Hotel des Ventes Auction, Monaco 2015,December- Miami River Art Fair 2015, Nina Torres Fine Art Gallery, Miami, USA 2015,June- Monaco Auction, Accademia Fine Art Gallery, Hotel Metropole, Monte-Carlo, Monaco. 2015 - Exhibition at Alexander Art Group International Gallery, Monte-Carlo, Monaco 2015,May- Auction "AmberLoungeFashion", Hotel Meridien, Monte-Carlo, Monaco 2014,December- BDN2014 Christmas Ball Auction, Monte-Carlo, Monaco 2014,December 13- Auction Hotel des Ventes de Monte-Carlo, Monaco 2014, December 4-7- Miami River Art Fair 2014, Nina Torres Fine Art Gallery, Miami ,USA 2014 ,August 2 - Russian Auction , MC FINE ARTS Gallery, Hotel de Monte-Carlo Bay, Monaco 2014 Permanent Exhibition , Saint Paul de VenceGallery, France 2014- Russian Auction, Hotel de Paris, MC Fine Arts Gallery, Monte-Carlo, Monaco 2013, December Auction Hotel de Paris, Accademia Fine Arts, Monte-Carlo, Monaco 2013, October Auction Hotel de Paris,Accademia Fine Arts, Monte-Carlo, Monaco.

Valorac. 8 000 - 10 000 EUR

Lote 43 - LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000). "The snake charmer", 1986. Oil on canvas. Signed and dated in the upper left corner. Measurements: 160 x 200 cm. Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in its beginnings, which will gradually disappear until it becomes a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

Valorac. 3 500 - 4 000 EUR

Lote 44 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). Five drawings, 1963. Set of five ink, wax and watercolour drawings on pages and double-pages of "Album 19". Each of the drawings is accompanied by a certificate of authenticity issued by ADOM. One of them is signed. Size: 30,5 x 22 cm (2); 44 x 30,5 cm (3). Set of five drawings by Joan Miró on pages from "Album 19", a portfolio of lithographs containing an essay by Joan Perucho. This is the booklet of the exhibition held at the Sala Gaspar Gallery in Barcelona, which took place between 26 October and 15 November 1963. Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry into visual art, 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 devoted a retrospective exhibition to him, which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, 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.

Valorac. 30 000 - 35 000 EUR

Lote 45 - OKOKUME (Mataró, 1985). 8" Qee hand painted by the artist. Unique and exclusive piece. Signed with felt-tip pen and stamped. Measurements: 22 x 12 x 8 cm. In 2012 Swab Barcelona presented the charity project against AIDS, Swab Toy by FLS, in collaboration with the "Lluita Contra la Sida Fundación Lucha contra el SIDA". The project involved 100 artists and designers who made an artistic intervention on an 8" DIY QEE. The toy in bidding is, therefore, a personalized, unique and exclusive piece hand painted by Okokume (Lau Mas' alter ego). The artist considers herself part of the Lowbrow art movement (pop surrealism) and films such as Studio Ghibli (Hayao Miyazaki) have helped her find a style akin to naïff. She is also influenced by films like Akira (Katsuhiro Ôtomo), creating characters close to those in the film. Qee is a line of designer dolls created by Toy2r founder and president Raymond Choy. Born in 2002 in Hong Kong, Qee has revolutionized the world of design, introducing contemporary art to the vinyl toy market. Under the slogan "Everyone can design", Choy's identifying idea has brought together the creations of important artists from all over the world, from Eugenio Merino, Emilio García, Albert Pinya or Elenza Monzo, to Chu Uroz, Manuel Ocampo or Max Ripo. In this way, each artist captures on these dolls -a particular "3D canvas"- his or her way of understanding the world. These curious characters are available in various sizes including 1.5", 2.5", 8", 16", 36" and the 60" Qee. Toy2r also provides D.I.Y (Do It Yourself) Qees for aspiring designers. They are articulated, as they move the head, arms and legs. Since its inception, Toy2r has received numerous internationally renowned awards around the world, making it a leading firm in designer toys.

Valorac. 2 500 - 3 000 EUR

Lote 46 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1995. Mixed media (oil, matter, plate, chickpeas, charcoal, waxes) on canvas. Signed and dated in the lower right corner. Measurements: 76 x 94 cm; 73 x 83 cm (frame). In the painting of Guinovart always had an indelible impression aspects of his biography linked to the hardships of the civil war. The grains of wheat and chickpeas that he incorporates in his works, not only in his informalist period, but also in later paintings such as the one we are dealing with, respond to the persistence in his memory of what it meant to emigrate with his family to a small town in Lleida to take refuge from the war. The products and utensils of the land will be treated as symbols of resilience and hope in unfavorable contexts. At the same time, experimenting with these extra-artistic elements will give him a prominent place in the heart of material informalism. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He immediately acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Valorac. 6 000 - 8 000 EUR

Lote 47 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1997. Mixed media on táblex. Signed and dated in the lower left corner. Measurements: 50 x 60 cm; 73 x 83 cm (frame). In the nineties, when Guinovart already had a fruitful career behind him, his painting freed itself more than ever from adherence to specific avant-garde movements or styles. In the work shown here, stains and textures skilfully distributed suggest a human face in profile, captured more as absence than presence: as if its spectral nature left an ineffable trace on the material. The latter is treated as a signic palimpsest. Josep Guinovart was trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He immediately acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence, both through the incorporation of various elements and objects (burnt wood, boxes, waste objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Valorac. 4 000 - 5 000 EUR

Lote 48 - EDUARDO ARRANZ BRAVO (Barcelona, 1941-2023). "L'estany de Natalia", 1981. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 195 x 250 cm; 197 x 252 cm (frame). Arranz Bravo was a total artist, theoretician and executor, key in the development of the Catalan and Spanish avant-garde of the second half of the 20th century. His work and his personality are part of the history of struggle and rupture of Spanish artists during the last decades of Franco's regime. Arranz Bravo was a spearhead in this opening, in this rejection of traditionalist Manichaeism that led to the complete renovation of Spanish art and placed it once again in the European avant-garde. Eduardo Arranz Bravo trained at the School of Fine Arts of Sant Jordi, in Barcelona, between 1959 and 1962. He made his individual debut in 1961, at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was the one organized by the Ateneo of Barcelona in 1961. Between 1968 and 1970 he was part of the group formed by Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint exhibitions with individual ones. The contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has had exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art of São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His awards include the II International Biennial of Sport, the figure award of the Biennial Estrada Saladich, and the Ynglada-Guillot drawing award. His work can be found in the Reina Sofia Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.

Valorac. 4 000 - 5 000 EUR

Lote 49 - MANOLO MARTÍN (1946-2005). "Bulldog and Guernica", ca. 2001-2002. Fiberglass and acrylic. Attached certificate issued by Don Manuel Martin, son of the author. It has slight damage. Measurements: 37 x 66 x 38 cm. The figure of a dog serves as a base or as a canvas for Picasso's Guernica. The use of characters inspired by urban culture as protagonists, in this case the dog, brings us closer to a language of clear pop aesthetics, although the iconic presence of the figures of Guernica, take us to the avant-garde of the beginning of the century, thus giving a confluence between the two most important artistic currents of the twentieth century. With this work the author offers the viewer a new perspective as it provides a radically new vision by playing with elements of high and low culture of the art world. Manolo Martín was a fallas artist who began his training in Manuel Guinart's workshop, combining his apprenticeship in the art of fallas with advertising and decoration. In 1971 he began his solo career and in 1976 he made his first large-scale falla. Only two years later he presented "El circo de la Vida", in the fallas of Valencia and in 1982 thanks to his work "Los siete pecados capitales" (The seven deadly sins) he achieved great recognition. In 1985 he participated in the International Comic Salon, thus opening his field of artistic action to other fields. This new experience had a direct influence on his style, which abandoned its more classic and traditional character in favor of a greater modernity, with the collaboration of illustrators such as Sento LLobell, Antonio Ortiz, or the designers Francis Montesinos and Valentín Herraiz. Throughout his career he collaborated with artists such as Antonio Miralda, Javier Mariscal, Carmen Calvo, Miguel Navarro, Manolo Valdés, Quino, Daniel Torres, Chema Cobo, Jean Jacques Lebel and Sigfrido Martín Begué. Attached certificate issued by Mr. Manuel Martín, son of the author. Slightly damaged.

Valorac. 4 000 - 5 000 EUR

Lote 50 - CARMEN CALVO (Valencia, 1950). "Zurbarán", 1989. Mixed media, rope and canvas on board. Presents stamp on the back of the Nave 10 Gallery (Valencia). Signed, dated and titled on the back. Measurements: 110 x 60 cm; 120 x 67,5 cm (frame). The title of this work gives us a key that allows us as viewers to understand the artist's aesthetic influences and their resignification in a contemporary language and context. Carmen Calvo has made numerous works inspired by the Spanish painting of the Golden Age: Sánchez Cotán, Zurbarán and later Goya's Black Paintings". This concept is expressed directly by Calvo, who stated in Makma magazine (July 4, 2022): "What I do is to manipulate objects by incorporating them into another context and another way of seeing. Mannequins, for example, have been treated since the Renaissance, and then Picasso or Breton have also worked on them by manipulating them. Everything has been invented here. I also refer to Zurbarán, to the old still lifes, and that's it, because I come from a classical education". Starting with the name of the painter Zurbarán (1633-1635), we can observe a great influence of the mastery of white that made Zurbarán famous, visible in works such as "Homage to Saint Hugo in the refectory of the Carthusians, 1630-1635 (Museum of Fine Arts of Seville) or Saint Serapius (Wadsworth Atheneum, Hartford). In addition, the rope that crosses Carmen Calvo's piece may remind us of the belt of the "St. Francis standing contemplating a skull" (Museo del Prado), where three knots represent the three vows of the order. Carmen Calvo studied at the Schools of Arts and Crafts and Fine Arts in Valencia, and graduated in advertising in 1970. She would later broaden her training thanks to scholarships from the Ministry of Culture (1980), the Casa de Velázquez in Madrid (1983-85) and the Ministry of Foreign Affairs, for her residence in Paris (1985-92). During these years Calvo began to be recognized, receiving distinctions such as the I LaSalle Seiko Painting Prize of Barcelona (1985), the Alfons Roig of the Diputación Valenciana (1989), a scholarship in the I Biennial Martínez Guerricabeitia of the University of Valencia (1989), and the selection for the XLVII Biennial of Venice (1997). The artist had begun her exhibition activity in 1969, taking part in a group show held at the Círculo Universitario de Valencia. She made her individual debut in 1976 at the Temps gallery in her hometown, and since then she has shown her work individually in various cities in Spain and the United States, as well as in other countries in Europe, America and Africa. Works by Carmen Calvo can currently be seen in art institutions, museums and private collections all over the world, including the Guggenheim Museum in New York, the Reina Sofia in Madrid, the Marugame Hirai in Kobe, the MACBA in Barcelona, the Fonds National d'Art Contemporain in Paris, the IVAM in Valencia, the Chase Manhattan Bank collection in New York, etc.

Valorac. 12 000 - 14 000 EUR

Lote 51 - PER KIRKEBY (Copenhagen, 1938-2018). Untitled. Bronze. Exemplar 1/6. Signed and justified. Measurements: 23 x 28 x 15.5 cm. Kirkeby began working with sculpture in the early 1980s, after a crisis in the field of painting. His sculptural works allowed the artist to explore anatomy and nature. The material is molded into unstable forms that seem to emerge formless. Representation is explored here as a place of linearity, where forms are extracted and retracted from the chaos of materiality, only to fall back into it, as if ordering the bronze to rise. The theme of form is a leitmotif in the artist's sculptural work, with doors, caves, slits and similar openings recurring everywhere. Per Kirkeby was a Danish painter, poet, filmmaker and sculptor. In 1957, Kirkeby began studying natural history at the University of Copenhagen. As a research assistant, he made several trips to Greenland in 1958, 1959 and 1960. In 1962, he began studying at the Experimental School of Art in Copenhagen. During his time there, he worked with a variety of media: painting, graphic arts, 8-millimeter film and performance pieces. When Kirkeby completed a master's degree in Arctic geology at the University of Copenhagen in 1964, he was already part of the important experimental art school "eks-skolen". His interest in geology and other aspects of the natural world was fundamental and characteristic of his art. Kirkeby combined his work as a painter, sculptor, writer and printmaker with theatrical productions, designing the set for New York City Ballet's 1999 production of Swan Lake and the set and costumes for the 2007 production of Romeo and Juliet. In 1977 he published Fliegende Blätter. In 1988 he published a book of essays on the works of Delacroix, Manet and Picasso. Kirkeby taught as a lecturer at the Academy of Fine Arts in Karlsruhe from 1978, at the Karlsruhe Institute of Technology (1978-1989) and at the Städelschule in Frankfurt (1989-2000). In 1996, he collaborated as a painter on three films with filmmaker Lars von Trier, creating the chapter titles for Breaking the Waves and Antichrist, as well as the visual effects for the overture to Dancer in the Dark. In 1990 he received the NORD/LB Art Prize, six years later he was awarded the Coutts Foundation Prize for Contemporary Art and the Henrik Steffens Prize. In 1997 he was appointed Knight of the Order of Dannebrog and in 2003 he received the Herbert Boeckl Lifetime Achievement Award. His works are represented in numerous important public collections, including the Tate, the Metropolitan Museum of Art, the Museum of Modern Art and the Pompidou Center.

Valorac. 9 000 - 10 000 EUR

Lote 52 - MANOLO VALDÉS BLASCO (Valencia, 1942). "Iberian Lady", 2003. Ceramic on polyester and fiber base. Exemplary I/II. Attached certificate of authenticity issued by the author. Measurements: 165 x 130 x 150 cm. The original model of the "Iberian Lady" of Valdes is a sculpture composed of 22,000 blue ceramic heads, 20 cm, mounted on a metal structure. The sculpture, placed in the center of a fountain, is 18 m high on a concrete pedestal, and the side pieces are 16 m in diameter. It is located in Valencia, at the intersection of Avenida de Las Cortes Valencianas and Calle La Safor. It was inaugurated in February 2007, and its execution was made possible thanks to the patronage agreement signed by the Valencia City Council, Manolo Valdés and the promoters Lladró and Vallehermoso. In the words of Rafael Rivera, "La Dama Ibérica by Manolo Valdés is a sculpture of sculptures, a piece composed of other blue ceramic pieces, of smaller size but of similar formalization, placed in a hidden order to compose the larger piece. They are all anonymous, identical, but essential. The light, the reflection, the color, the transparency, the emptiness, are the other elements, incorporeal, that compose many sculptures within the sculpture, different images that speak to us of the day and the night, of the sun and the moon, of the dawn and the sunset. No look is the same as any other, no perception can be repeated, and whenever we raise our heads to contemplate it we will have the impression of seeing it for the first time". Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan (1965), the silver medal of the II International Biennial of Engravings of Tokyo (1979), the prize of the Bridgestone Art Museum in Lisbon (1979), the National Prize of Plastic Arts (1983), the medal of the International Festival of Plastic Artists of Baghdad (1986), the Decoration of the Order of Andres Bello in Venezuela (1993), the award of the National Council of Monaco (1997), the Gold Medal of Merit in Fine Arts (1998), the Award of the Spanish Association of Art Critics (2000) and the Best Print Artist Award (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritizing above any other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera or Zurbarán, and he never hides his models, but rather emphasizes them, even in the titles of his works. Formally, he creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images of the history of art. Valdés is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

Valorac. 350 000 - 400 000 EUR

Lote 53 - JOSE MARIA MIJARES (Havana, 1921-2004). "Bird". Oil on canvas. Enclosed certificate María Antonia Cabrera de Mijares. Provenance Doña María Antonia Cabrera de Mijares, widow of the artist. Measurements: 90 x 121 cm; 117 x 150 cm (frame). In this work the autochthonous referents are fused with the formal language learned in Europe to produce works where the characters of the Yoruba pantheon that will populate great part of his later production already appear. The Cuban school of the 20th century was characterized by embracing the European avant-garde and developing, on that basis, a language of its own. This generalized current of artists trained in Europe, who returned to Cuba, meant a great artistic impulse for the country. Thanks to painters who fused their roots and experiences, thus creating a new personal and independent language as can be seen in the representation of this bird. A symbol that was used on several occasions by Mijares, who resorted to the symbolism of the bird as the protagonist of some of his compositions. Mijares, considered one of the great 20th century Cuban and Latin American artists, studied at the San Alejandro National School of Fine Arts in Havana, where he taught. Among his teachers were Romanach, Menocal, Valderrama, Ramon Loy, Caravia and others. It was Mijares himself who recognized that one of his most influential teachers was Ponce, who helped him develop his own style of expression. He was a member of the group Diez Pintores Concretos. Between 1968 and 1973 he was a member of Grupo Gala in Miami, where he settled at the age of 47. He directed Alacrán Azul magazine in Miami. He held his first exhibition at the Havana Lyceum (1947). In the eighties he exhibited in Coral Gables, Florida, where he reiterated his presence. In 1994 the Cuban Museum of Art and Culture of Miami dedicated a retrospective to him. Also the Alfredo Martinez Gallery of Coral Gables would organize an ontological one in 1996. As for group exhibitions, it is worth mentioning his participation in the Venice Biennial of 1952. He is represented at the Cintas Foundation in New York, the Loewe Art Museum, Florida; the Museum of Modern Art of Latin America in Washington, D.C., and the Museum of Modern Art in New York. Mijares' well-deserved recognition came mainly from knowing how to harmonize his universal vocation with the search for an autochthonous Cuban language. His works are characterized by illustrating a personal, expressive artistic style, with a special poetics that values at the same time the versatility of his plastic resources and an exquisite sensitivity in handling different themes. Sometimes starting from a colorful postcubism through which he practically enters into abstraction, but without losing the referential thread. The Florida International University awarded Mijares an honorary doctorate in fine arts in December 2001. In 2002, he opened the Mijares Gallery in Coral Gables, where his latest works were exhibited. Attached certificate María Antonia Cabrera de Mijares.

Valorac. 9 500 - 10 000 EUR

Lote 54 - ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). "Lady", 1956. Ink on paper. Presents label of the Van de Loo Gallery, Munich. Framed in museum glass. Signed and dated in the upper right corner. Measurements: 75 x 52,5 cm; 95 x 73 cm (frame). In the back of this work an informative label of the Gallery Van de Loo in Munich can be appreciated. Saura's contact with this relevant artistic space came from his friendship with Rodolphe Stadler of Paris, who introduced the artist to Pierre Matisse in New York and to Otto Van de Loo of Munich, thus promoting the internationalization of Saura's work. In this painting the Spanish pictorial tradition is rescued through the realization of a portrait. For this he uses a dark chromatic range, a character portrayed facing the viewer, and a neutral background that allows monumentalizing and highlighting the figure of the protagonist; characteristics that were established in Spanish art through painters such as El Greco, Velázquez, Goya or Solana. But even so, Saura does not try to recreate established patterns, but to go beyond and give life to a portrait that flees from the figurative and makes contact with other artistic currents such as abstraction, through a completely personal aesthetic. A pictorial look that starts from tradition and joins Saura's mastery to that of the great masters. Thus managing not only to create an expressive, dynamic and exacerbated portrait through his technique, but also to contextualize himself in contemporaneity, as one of the great Spanish artists. A portrait very similar to the present one, entitled "Lola" and made in the same year, 1956, is in the artistic collection of the Museo Nacional y Centro de Arte Reina Sofía in Madrid. Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first solo exhibition at the Libros bookstore in Zaragoza, showing a series of experimental works ("Constelaciones" and "Rayogramas"), created during the long illness that kept him immobilized since 1943, for a period of five years. In 1952 he made his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works, and that same year he visited Paris for the first time, settling in the city. There his work was influenced by artists such as Miró and Man Ray, and he dedicated himself to making paintings on canvas and paper of an organic nature, using various techniques. The break with the surrealist group allows him to open up to other ways of creation, where he begins to show the evolution that his work is undergoing, which moves towards an instantaneous painting of gestural strokes and reduced palette of selective character, where informalism plays the misleading between suggestive expressions of line and color. He made his debut in Paris in 1957, at the Stadler Gallery, the same year he founded the El Paso group. The following year he took part in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he received the Guggenheim Prize in New York, and in 1963 his first retrospectives were held at the Stedelijk Museum in Eindhoven, the Rotterdamsche Kunstring and the museums of Buenos Aires and Rio de Janeiro (works on paper). Saura's retrospective exhibitions are repeated throughout his career, both in Spain and in Europe and America. In 1966 he exhibited at the Institute of Contemporary Arts in London, and participated in the Biennial of Engraving "Bianco e Nero" in Lugano, winning the Grand Prize. The following year he settled in Paris, although he worked and spent every summer in Cuenca, a fundamental pillar of his production since his early years. He is represented in the most important national and international contemporary art museums, including the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London. Framed in museum glass.

Valorac. 30 000 - 35 000 EUR

Lote 55 - B. PRABHA (India, 1933-2001). "Indian woman". 1987. Oil on canvas (without stretcher frame). Signed in the left margin. Attached certificate of authenticity issued by Nayana Salmalkar. Measurements: 90 x 60,5 cm. The elegant and stylized pensive women like the one that we show here populated great part of the paintings of B. Prabha. Indian women of rural environments, placed in barely insinuated places (here, seated on the rough ledge of a millenarian tree) and with an almost monochromatic palette with predominance of earthy and sienna colors. B. Prabha was a prolific Indian artist. He participated in more than 50 exhibitions. His work is part of important art collections, such as the National Gallery of Modern Art of India, the TIFR Art Collection and the Air India Art Collection. Prabha began working at a time when there were few women artists in India. She was inspired by the work of Amrita Sher-Gil. Like Sher-Gil, the protagonists of Prabha's works are often women. She was moved by the plight of rural women and they eventually became the main subject of her work. In an interview with Youngbuzz India, he said, "I have yet to see a single happy woman." His paintings also covered a wide range of subjects, from landscapes to social issues such as drought, famine and homelessness. B. Prabha grew up in the small village of Bela, near Nagpur in Maharashtra. She studied at the Nagpur School of Art, before moving to Bombay on a scholarship, where she completed her Diploma in Painting and Mural Painting at the Sir J. J. School of Art in 1954. There she met her husband, artist and sculptor B. Vithal, whom she married in 1956. At her first exhibition, held while she was still a student at the art school, Homi J. Bhabha, an eminent nuclear scientist and patron of the arts, acquired three paintings by Prabha for the Tata Institute of Fundamental Research's flagship art collection. Prabha's signature formal style would soon shift from modern abstraction to a more decorative figuration. "Air India" purchased its first lot of six paintings for Rs. 87.50 in 1956 from B. Prabha, then still a young art graduate. Prabha walked into Air India's art department and asked if the company would buy some of her paintings of Indian women. Officials agreed and a new art collection was born. The "Maharaja Collection," as it came to be called, expanded to 4,000 works over the next six decades and more, becoming one of India's most important art collections. The collection, which began with Prabha, aimed to put a little bit of India, both past and modern present, in the airline's offices and spaces around the world. Certificate of authenticity issued by Nayana Salmalkar is attached.

Valorac. 20 000 - 22 000 EUR

Lote 56 - TANIA FONT (Palamós, Catalonia, 1978). "In deconstruction XV". Cement, iron, wood, paper and different patinas. Signed on the back. Measurements: 70 x 64 x 40 cm. Tania Font explores with her work the lack of communication. The impacts of reality (noises, climatological phenomena, sentimental or vital impacts) in the mind of individuals through the subjective look, the personal experience told with volume instead of text or words. Tania Font graduated in Fine Arts, specializing in drawing at the Faculty of Fine Arts of San Jordi in Barcelona, education that she completed with numerous courses in digital creation, jewelry and ceramic techniques. He has also trained with the painter Manel Alcántara and the sculptor Rodrigo Gordo among others. She came into contact with art at the Círculo Artístico de Palamós, where she began to work with drawing as a student of Eduard de Cabrera. She was a student of the landscape painter Isidre Vilaseca. She had her first collective exhibition at the Patrick Domken Gallery in Cadaqués. She has been resident of the factory of creation Nau Bostik. He has collaborated in the monographic exhibition of Josep Clarà at the Can Mario Museum of the Vila Casas Foundation in 2020. He has also participated in fairs such as Estampa, Volta Art Fair Basel, Art Montpellier.

Valorac. 6 000 - 7 000 EUR

Lote 57 - ANDY WARHOL (Pittsburgh, USA, 1928 - New York, USA, 1987). "Lillian Carter, 1977. Graphite on paper. Signed on the back. Provenance: Christie's: American Pastimes-Sports & Politics. This work originates from the Estate of Andy Warhol, and from there, the Andy Warhol Foundation for the Visual Arts. Christie's will maintain a database of this work which will be used to corroborate provenance in the future to provide relevant information for the Andy Wahol Raissoné Catalogue. Attached is a certificate of authenticity issued by The Andy Warhol Foundation for the Visual Arts. Measurements: 103.8 x 51.4 cm; 125 x 92 cm (frame). Warhol was fascinated by the ambiguous border between politics and the concept of fame. As a result, he contributed his own interpretation of the subject by blending the two seemingly not so disparate worlds. He projected and inflected the idea of celebrity in his portraits, including those of politicians such as Lillian Carter's son, Jimmy Carter, President of the United States, as well as herself. American visual artist who became the best known representative of Pop Art, an artistic trend in vogue during the 1950s and 1960s that was inspired by mass culture. The son of Slovak immigrants, he began his art studies at the Carnegie Institute of Technology between 1945 and 1949. In the latter year 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 with everyday, advertising and comic themes. He soon began to exhibit in various galleries. He progressively eliminated any expressionist traits from his work until he reduced it to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its peak of depersonalisation in 1962, when he began to use a mechanical silkscreen printing process as his 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 and Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. The use of mass-circulated images, easily recognisable to all kinds of audiences, such as the aforementioned soup cans or Coca-Cola bottles, became one of the most interesting and stable features of his entire output. On other occasions he crudely depicted real situations, such as accidents, street fights, funerals or suicides; within this theme, Electric chair is one of his most significant works. This appropriationism, a constant in the work of the supporters of Pop Art, extended to universal works of art by authors such as Raphael Sanzio, Giorgio de Chirico, Edvard Munch and Leonardo da Vinci. Through mass reproduction, he succeeded in stripping the media fetishes he used of their usual referents, turning them into stereotypical icons with a decorative meaning. In 1963 he set up the Factory, a workshop in which he brought together numerous figures from New York's underground culture. The frivolity and extravagance that marked his way of life established a coherent line between his work and his life's trajectory; his peculiar appearance, androgynous and permanently topped with a characteristic blond fringe, ended up defining a new icon: the artist himself. He was one of the first artists to consciously exploit his image for self-promotional purposes; through a process of identification, he acquired in the eyes of the public the significance of just another advertising product. In 1963 he began a film career based on the same principles as his plastic work (such as visual reiteration), sometimes with a strong sexual and erotic content.

Valorac. 20 000 - 25 000 EUR

Lote 58 - JAUME PLENSA (Barcelona, 1955). "Le visage volé", 2021 Etching, copy 24/50. Signed and justified by hand. Measurements: 21 x 15 cm (print); 41 x 32 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.

Valorac. 1 400 - 1 600 EUR

Lote 59 - EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003). "Embrace", 1997. Silkscreen on paper, copy 74/75. Signed, dated and justified by hand. Measurements: 76 x 57 cm; 94 x 75 cm (frame). Following his particular aesthetic, Úrculo composes his works through enigmatic objects and indeterminate, anonymous figures, which, distantly inspired by fashion illustrations and art deco posters, evoke a whole range of the contemporary popular imaginary. Painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began painting as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly after, he moved to Madrid and began taking classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence made his painting evolve towards abstraction. However, four years later he returned to figuration and social criticism. In 1967 he made a trip to Northern Europe, and it was then that he first came into contact with American pop. From then on, Úrculo's work will be marked by a realism based on a very vivid coloring and, well into the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In this last period he added to his repertoire the theme of the traveler confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, among them the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.

Valorac. 1 800 - 2 000 EUR

Lote 60 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Pied el lettres", 1976. Etching and aquatint on paper, copy 46/50. Signed and justified in pencil. Measurements: 40 x 50 cm (print); 56 x 76 cm (paper); 77,50 x 97 cm (frame). Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Valorac. 1 800 - 2 000 EUR

Lote 61 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Masque mobile", 1962. Bronze. P.A. Current edition of six units. Signed and justified. Measurements: 28 x 15 x 4 cm; 10 x 6 x 6 x 6 cm (base). Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Formed in the School of Fine Arts of San Jordi of Barcelona, Clavé is dedicated in a first period to the advertising graphism, the illustration and the decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Valorac. 1 900 - 2 000 EUR

Lote 62 - VICTOR VASARELY (Pécs, Hungary 1906 - Paris, France 1997) "Plural", 1985. Lithograph on Arches paper. Copy 190/1500. Framed in museum glass. Presents dry stamp of World Federation of United Nations. Signed and numbered. Measurements: 28,5 x 21,7 cm. Considered father of Op Art, Victor Vasarely began his artistic formation in the school of Muheely, founded in Budapest by a student of the Bauhaus. He settled in Paris in 1930, where he created what is considered today as the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style varied from figurative expression, towards a type of constructive and geometric abstract art, interested in the representation of perspective without vanishing points.between 1936 and 1948 he participated regularly in the Salon des Surindependents and in the Salon des Nouvelles Réalités. From 1948 he exhibited regularly at the Denise René Gallery. In the fifties his work approached the use of new materials and supports such as aluminum or glass. In the same way he began to make works of integration with space, such as Homage to Malevich. In the sixties he participated in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received throughout his life, the Guggenheim Prize (1964), the Art Critics of Brussels and the gold medal at the Milan Triennial stand out. In 1970 he was also named Knight of the Order of the Legion of Honor. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important centers of contemporary art in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice or the Reina Sofia in Madrid.

Valorac. 350 - 400 EUR

Lote 63 - FRÉDÉRIC BRULY (Zéprégüé, Ivory Coast, 1923 - Abidjan, Ivory Coast 2014). "Un bel homme courant vers son amant", 2008. Ballpoint pen and crayons on cardboard. Signed and dated on the back. Provenance: Private collection / Family of the artist. Measurements: 25,5 x 18 cm. During the Second World War, Bruly worked as a sailor in the French Navy in the Antilles. At the end of the war he was employed on the Dakar-Niger railroad in Rufisque (Senegal). Having left the railway service in December 1945, he started as an employee in the "judicial identity service of the "general security in West Africa", in Dakar. From there he was assigned, in 1958, to the direction of police security in Ivory Coast. The Ministry of the Civil Service assigned him to the Ministry of the Interior, to the Directorate of Political Affairs in Abidjan, and the Directorate of the French Institute of Black Africa (IFAN), upon discovering that he was the inventor of an African alphabet, asked the Ministry of the Interior to transfer him to IFAN in Abidjan in 1958. The direction of the Faculty of Letters of the National University of the Republic of Ivory Coast having approved the scientific character and the classical sense of his manuscripts of which he came into possession, asked, in its turn, for their transfer to the university: service of the institute of ethnosociology, in 1973. The origin of all the work of Frédéric Bruly Bouabré comes from a revealing experience: on March 11, 1948, "the heavens opened before my eyes and seven colored suns described a circle of beauty around their Mother-Sun, I became Cheik Nadro: He who does not forget." Since then, Bouabré compiled his research in manuscripts dealing with art, traditions, poetry, tales, religion, aesthetics and philosophy, revealing himself as an astonishing thinker, poet, encyclopedist, creator. Seeking a way to preserve and transmit the knowledge of the Bété people and the world, he invented a unique alphabet of 448 monosyllabic pictograms, an inventory of sounds that would make it possible to transcribe all the languages of the world.This endeavor earned Bouabré the legendary reputation of being another Champollion and translates the universal thought of Frederic Bruly Bouabré who, from his vision, seeks to unite and pacify humanity. In the 1970s, he began to translate his thought into hundreds of small drawings in postcard format, using ballpoint pen and colored pencils. These drawings, collected under the title Connaissance du Monde (Knowledge of the World), form an encyclopedia of universal knowledge and experience. His works are currently held in important art collections among which are; Contemporary African Art Collection, Jean PIGOZZI Collection, Geneva, Switzerland, the National Museum of Abidjan, Abidjan, Ivory Coast, the National Museum of Modern Art, Centre Georges Pompidou, Paris, France, the Endowment Fund, Agnès b Collection, Paris, France, the François Pinault Foundation, Palazzo Grassi, Venice, Italy, MNAM, Centre Georges Pompidou on deposit at the Musée des Arts d'Afrique et d'Océanie, Paris, France, the Groninger Museum, Groningen, The Netherlands, the Centro de Arte Contemporáneo, Mexico City, Mexico, the Tanya RUMPFF Gallery, Haarlem, The Netherlands, the Tate Modern, London, United Kingdom, the Musée d'Art Brut, Lausanne, Switzerland, the Lambert Collection (LAC), Geneva, Switzerland, the Madame and Monsieur David-Weill Collection, Paris, France and the Gervane et Matthias Leridon Collection, Paris, France.

Valorac. 400 - 500 EUR

Lote 64 - JORGE GALLEGO GARCÍA (Seville, 1980). "In the afterglow of light", 2010. Oil on canvas. Attached certificate of authenticity issued by the author. Presents informative label on the back. Signed in the lower central area. Measurements: 114 x 114 cm; 119 x 119 cm (frame). University of Seville. In 2007 he completed the teaching period of the Doctorate Program "Painting and Conservation-Restoration" in the Department of Painting of the Faculty of Fine Arts of the University of Seville. In 2009 he participated in the Francisco de Goya Chair of Caja Ávila, taught by Antonio López García. In his career he has won numerous awards such as the First Prize of the Real Maestranza de Sevilla in the IIV Autumn Exhibition of the Royal Academy of Fine Arts of Santa Isabel de Hungría in 2005, Finalist and work acquired by the Fundació de les Arts i els Artistes in the 1st Figurative Painting Competition in Barcelona in 2005 or the National Prize of Fine Arts of the Ateneo de Sevilla in 2005 and 2012. Certificate of authenticity issued by the author is attached.

Valorac. 1 000 - 1 200 EUR

Lote 65 - Set of 6 skates. Screen-printed wood. Measurements: 80 x 20 cm. Six screen-printed skateboards, Calvin Klein, Louis Vuitton, Gucci, Chanel, Rolex and Ralph Lauren brands.

Valorac. 500 - 600 EUR

Lote 66 - CHARLES FRÉGER (Bourges, France, 1975) "Legionnaires, 2000-2001. Portfolio II. "Portraits photographiques et uniformes". Folder with 12 photographs. Copy 2/5. Signed and numbered by the artist. Measurements: 42 x 33 x 6,5 cm (folder); 50,7 x 24 cm (photos). Charles Fréger is known for his series of photographic portraits of people in uniform (national guards, legionnaires, sumos, skaters, majorettes ...), which play on the relationship between the signs of belonging to a group and the individuality of In the case of the "Legionnaires", Fréger had the idea of photographing all types of uniform existing in the French Foreign Legion. It consists of three series. The first is that of the volunteers; the second is that of the Pioneer Corps, also known as Sappers; the third set is that of the uniforms. The photos of the volunteers are half-length and the subjects are bare-chested. The idea was to evoke the special place that the volunteers occupy. They are not yet legionnaires and have to undergo intensive training, often stripped to the waist. The nudity expresses the relationship of power exercised by the Legion's constituent body over the body of the enlisted volunteer who finds himself alone, stripped of his old identity and yet to receive a new one. The Pioneers wear rows of medals on their leather sapper aprons as proof of their pedigree. The photographer chose the most functional uniforms: bomb disposal expert, tank driver with infrared visor and paratrooper with signaling tool. The uniforms reflect the spirit of the Legion, which insists on the absolute primacy of the group over the individual, to whom it gradually aligns itself. Charles Fréger's photography is characterized by its anthropological and sociological approach. He is particularly interested in the way groups use uniforms, costumes and traditional dress to express identity and cohesion. Fréger began his career focusing on portraits of athletes, soldiers and students, exploring the idea of uniformity and individuality within these groups. Other series: "Wilder Mann" (2010-2011): This series explores European pagan rituals and the costumes associated with them. Fréger traveled through 19 countries, photographing participants dressed as "wild men," a figure present in many European folk traditions. "Yokainoshima" (2013-2015): focuses on traditional costumes and masks used in Japanese rituals and festivals. The series highlights the connection between these costumes and the cultural heritage they represent. "Empire" (2010-2012): A series of portraits of young men at military academies in Europe and the United States, examining the visual codes and traditions of these institutions. Fréger's work has been exhibited in numerous galleries and museums around the world, including the Maison Européenne de la Photographie in Paris, the Yokohama Museum of Art in Japan, and the Musée de l'Elysée in Lausanne, Switzerland. He has published several photography books compiling his various series, such as "Wilder Mann", "Yokainoshima" and "Bleus de travail".

Valorac. 5 000 - 6 000 EUR

Lote 67 - Set consisting of three celluloids; Transformers and Dragon Ball, 20th century. Celluloids (x3) and a drawing. Two of the celluloids correspond to the Transformers series and the other to Dragon Ball. Measurements: 23 x 27 cm (x3). Dragon Ball is a Japanese manga cartoon series created by Akira Toriyama in 1984. The initial manga, written and illustrated by Toriyama, was serialized in Weekly Shonen Jump from 1984 to 1995, with 519 individual chapters. Dragon Ball was originally inspired by the 16th century Chinese classic novel Journey to the West, combined with elements from Hong Kong martial arts films. The series follows the adventures of protagonist Son Goku from childhood to adulthood as he trains in martial arts. He spends his childhood far from civilization until he meets a teenage girl named Bulma, who encourages him to join her on her quest to explore the world in search of the seven orbs known as Dragon Balls, which summon a wish-granting dragon when gathered. Along his journey, Goku makes several more friends, becomes a family man, discovers his alien heritage, and battles a wide variety of villains, many of whom also seek the Dragon Balls.

Valorac. 400 - 500 EUR

Lote 68 - Set consisting of seven celluloids; 20th century. Seven acetates and six drawings. Some of them are from the animated series "Transformers". Measurements: 27 x 40 cm (larger); 23 x 17 cm (smaller). Set of seven celluloids, some of them from the Transformers animated series. Transformers is an audiovisual franchise produced by the American toy company Hasbro and the Japanese Takara Tomy. It focuses primarily on the heroic Autobots and the villainous Decepticons, two warring factions of alien robots that can transform into other forms, such as vehicles and animals. The franchise spans toys, animation, comics, video games and movies.

Valorac. 300 - 400 EUR

Lote 69 - "Play Camo" from the "Bape Play" series for Medicom Toy. Set of four 400% Be@rbrick. Vinyl painted in different colors. In their original boxes. Sealed. In good condition. Measurements: 27 cm (height); 19 x 16 x 11 cm (boxes). The revolution of the Art Toys reaches in the Be@rbrick one of its maximum representatives. Its simple but attractive image in the form of an articulated bear (similar to a piece of brick, hence its name) and its inexhaustible variety of designs made by different and famous artists make it an object of desire for new and established collectors. Designed and produced by the Japanese company MediCom Toy Incomporated and launched in 2001 as a gift to visitors to the World Character Convention 12 in Tokyo, the Be@rbrick features nine distinct parts (known as "tools" in the toy industry) that allow for eight diverse points of articulation: rotating head, rotating waist, ball-jointed arms, rotating wrists and ball-jointed legs. Sizes range from 7 cm high (known as 100% Be@rbrick, standard size), followed by 400% Be@rbrick (28 cm high) or 1000% Be@rbrick (70 cm high). Other sizes are smaller than standard, such as 50% Be@rbrick (4 cm) or 70% Be@rbrick (5 cm). Among the most recognizable collaborations are those with Kaws, the Andy Warhol Foundation, Jean-Michel Basquiat, Keith Haring, Disney, Looney Tunes, DC Comics and even the Louvre Museum and Chanel. Many celebrities also collect Be@rbrick, from music producer Pharrell Williams to the former creative director of Vogue, Grace Coddington. In good condition.

Valorac. 2 800 - 3 000 EUR

Lote 70 - EMILIO GARCÍA (Barcelona, 1981). "Skull Brain, 2012. Exemplary A.P. 2/2. Yellow resin. Signed and justified. In good condition. Measurements: 13 x 14 x 8 cm. After the success obtained with "Jumping Brain", a combination of brain and jumping frog, Emilio García presented "Skull Brain" in "CONTEXT Art Miami 2012" and its large-scale version in "Pulse Miami 2013", being awarded as best Catalan artist of the year by the Lluís Coromina Foundation. In Skull Brain he places brain material over the shape of a skull for an explosive and intriguing result. It was at this time when Garcia began to get involved in all kinds of neuro-urban merchandising, creating Art Toys or skateboards, among other objects designed for everyday use. Emilio García has a long professional career as a visual artist and independent art director. Since 1999 he has worked with well-known international companies such as Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others, specializing in moving images and multimedia content. His work has been published in Taschen, Favorite Websites and Web Design Index Books. His first independent project, Jumping Brain, has become a sensation, as did subsequent series. Exhibitions of note: "Block Mickey" by Disney. Times Square, Hong Kong, 2009. "Swab Barcelona Contemporary Art Fair, Iguapop Gallery booth. Barcelona, Spain, 2010. "Street Anatomy", International Museum of Surgical Science. Chicago, USA, 2010. "PULSE Miami", Black Square Gallery booth. Miami, USA, 2013 "HOCA Foundation Beneficial Auction", Paddle8, Hong Kong, 2015 "Art Fair Tokyo". JPS Gallery booth. Tokyo, Japan, 2016 "Brain Being" solo show. JPS Gallery. Hong Kong, 2017. Emilio Garcia's work has been published in many art, design and culture magazines such as Clutter, Neo2 or Juxtapoz, exhibition catalogs, and he has contributed in different books such as "We are Indie Toys" by HarperCollins, "Resin Toys" by Lemo or "Skullture: Skulls in Contemporary Visual Culture" Gingko Press. He has also participated in the documentary "Un Designer Toy Artesanal" by Jose M Cuñat and Victor M. Mezquida in 2014. In good condition.

Valorac. 1 500 - 1 600 EUR

Lote 71 - MILK Magazine x NBA for Medicom Toy. Set of six 400% Be@rbrick of the NBA 70th Anniversary Edition. Plastic. Sealed. In original boxes. Produced by Medicom Toy. In good condition. Measurements: 28 cm (Toy height); 29 x 15 x 11 cm (Boxes). On the occasion of the NBA's 70th Anniversary celebration, a collaboration with Milk & Medicom Toy took place in 2016. As a result, the already iconic Be@rbrick wore the jerseys of the best and most influential NBA teams: the Chicago Bulls (BULLS), the Los Angeles Lakers (LAKERS), the San Antonio Spurs (SPURS), the Boston Celtics (CELTICS), the Cleveland Cavaliers (CAVALIERS) and the Golden State Warriors (WARRIORS). The Art Toys revolution reaches in the Be@rbrick one of its maximum representatives. Its simple but attractive image in the form of an articulated bear (similar to a piece of brick, hence its name) and its inexhaustible variety of designs made by different and famous artists make it an object of desire for new and established collectors. Designed and produced by the Japanese company MediCom Toy Incomporated and launched in 2001 as a gift to visitors to the World Character Convention 12 in Tokyo, the Be@rbrick features nine distinct parts (known as "tools" in the toy industry) that allow for eight diverse points of articulation: rotating head, rotating waist, ball-jointed arms, rotating wrists and ball-jointed legs. Sizes range from 7 cm high (known as 100% Be@rbrick, standard size), followed by 400% Be@rbrick (28 cm high) or 1000% Be@rbrick (70 cm high). Other sizes are smaller than standard, such as 50% Be@rbrick (4 cm) or 70% Be@rbrick (5 cm). Among the most recognizable collaborations are those with Kaws, the Andy Warhol Foundation, Jean-Michel Basquiat, Keith Haring, Disney, Looney Tunes, DC Comics and even the Louvre Museum and Chanel. Many celebrities also collect Be@rbrick, from music producer Pharrell Williams to the former creative director of Vogue, Grace Coddington. In good condition.

Valorac. 2 000 - 2 200 EUR

Lote 72 - RON ENGLISH (Chicago, 1959) for Made by Monsters Toys. "Rodent Grin" from the "Pop Art" series. 2 painted vinyl figures. JPS Special Edition limited to 400 copies. Signed, numbered and sealed. With original bags. In good condition. Measurements: 22 cm (height). The most famous mouse in the world differs from the rest of the conventional versions by the already classic skull-shaped smile of Ron English. The Art Toys in tender correspond to the JPS release of Rodent Grin by Ron English x Made by Monsters. Ron English's Art Toys are a mix between pop art and propaganda that follows the concept of "Culture Jamming", which can be translated as cultural sabotage or diversion, in which he incorporates iconography derived from superhero comics, art history, advertising or politics. English thus plays with the iconography of multinationals, popular culture or art history, such as Joe Camel, McDonalds, Vincent vanGogh or Mickey Mouse, versioning and satirizing them to symbolize the opposite of the values they represent. English's name has appeared in the most important magazines in the world (The New York Times, The Wall Street Journal, USA Today, The Miami Herald, The Washington Post, The Los Angeles Times, LA Weekly, Art News, Time Magazine, Rolling Stone, Creem, Juxtapoz Magazine, Hi Fructosa, Mad Magazine, among others). His film and television appearances include Exit Through the Gift Shop, Supersize Me, The Simpsons, Work of Art, Street Art Throwdown, CNN, BBC, Sky TV and many others. In addition to his art practices and murals, English has produced album covers for musicians such as Dandy Warhols and Slash, art for the documentary Super Size Me and various Art Toys. In good condition.

Valorac. 3 500 - 3 800 EUR

Lote 73 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). Untitled, 1990. Ink on silk paper. Signed and dated in the lower right corner. Provenance: Private collection. Size: 60 x 90 cm; 79 x 109 cm (frame). After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours. A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

Valorac. 1 800 - 2 000 EUR

Lote 74 - JUAN MANUEL LÓPEZ-REINA COSO (Cuenca, 1953). "Sunset". Mixed media on wood. Signed and titled on the back. Signed in the lower right corner. Signed and titled on the back. Measurements: 120 x 140 cm. Juan Manuel López Reina stands out for his multidisciplinary training, in which he has developed the study of different artistic techniques such as engraving or watercolor. Graduated in graphic arts and specialized in photocomposition, book and magazine design, he has completed his artistic training with different courses, among which stand out the engraving workshop at the School of Fine Arts in Madrid and the Prado workshops with Francisco Molina, Jorge Pedraza or Salvador Antúnez. His extensive knowledge of various techniques has led to the creation of a very personal style where he combines different techniques and a style that oscillates between abstraction and figuration. In the words of the artist himself: "A musician composes a melody by combining notes, according to certain relationships; a poet composes a poem by putting thoughts and words in good order; and a painter creates a painting by adjusting thoughts, shapes and colors in the best order" His work has been widely represented in important national art centers such as the Casa de Vacas in Madrid, the Victoria Hidalgo Gallery or the Cantabria House, among others. He has also been awarded several prizes among which are the first prize of the prado workshop in 2013, the first prize XXVIII minimalist art contest San Antón 2012 awarded by the free academy of arts and letters of San Antón and the first prize mira Madrid awarded by the Association of painters and sculptors in 2012.

Valorac. 3 000 - 3 500 EUR

Lote 75 - ALEX KATZ (Brooklyn, New York, July 24, 1927). "Vincent," 1972. Lithograph on paper. Copy 50/120. Enclosed certificate from the Composition Gallery, Georgia. Signed in the lower left corner. Measurements: 38, 1 x 53,3 cm; 73,5 x 82,5 cm (frame). In this work you can see the portrait of the artist's son who was portrayed on numerous occasions by his father. In fact, in the exhibition that the Guggenheim Museum dedicated to Alex Katz, his son, now an art critic, stated, "What's interesting, you know, being a kid and being portrayed, because you just think it's something you have to do, like, 'How long do I have to pose for this?' And he's very quick at painting. So it's a painless process at all." Alex Katz born into a Jewish family in Brooklyn, in 1928 moved with his family to Queens, where. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture, Maine. An education that proved instrumental in his development as a painter and remains a staple of his practices today. Katz explains that painting outdoors at Skowhegan gave him a reason to dedicate his life to painting. Katz's paintings fall almost equally into the genres of portraiture and landscapes. Since the 1960s he has painted views of New York (especially his immediate surroundings in Soho), the landscapes of Maine, where he spends several months each year, as well as portraits of family members, artists, writers and leading figures in New York society. His paintings are defined by their flatness of color and form, their economy of line, and their fresh yet evocative emotional detachment. A key source of inspiration is the woodblock prints produced by the Japanese artist Kitagawa Utamaro. In the early 1960s, influenced by films, television and advertising posters, Katz began to paint large-scale paintings, often with dramatically cropped faces. Most of his works depict close-ups, showing front and back views of the head of the same figure or figures looking at each other from opposite edges of the support. Since 1951, Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions throughout the United States and internationally Katz's first solo exhibition was an exhibition of paintings at Roko Gallery in New York in 1954. In 1974, the Whitney Museum of American Art showed Alex Katz Prints, followed by a retrospective exhibition of paintings and cut-outs entitled Alex Katz in 1986. Katz has had numerous retrospectives at museums including the Whitney Museum of American Art, New York; Brooklyn Museum, New York; the Jewish Museum, New York; the Irish Museum of Modern Art, Dublin; Colby College Museum of Art, Maine; Staaliche Kunsthalle, Baden-Baden; Fondazione Bevilacqua La Masa, Venice, Centro de Arte Contemporaneo de Malaga and Saatchi Gallery, London (1998). Katz's work is in the collections of more than 100 public institutions worldwide, including the Honolulu Museum of Art, Museum of Modern Art, New York, Metropolitan Museum of Art, New York; Whitney Museum of American Art, NY; Smithsonian Institution, Washington, D .C .; Carnegie Museum of Art; the Art Institute of Chicago; Cleveland Museum of Art; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Metropolitan Museum of Art, Tokyo; the Nationalgalerie, Berlin; and the Brandhorst Museum, Munich, among others. Attached is a certificate from the Composition Gallery, Georgia.

Valorac. 1 200 - 1 800 EUR

Lote 76 - MANUEL BARBADILLO (Cazalla de la Sierra, Seville, 1929 - Malaga, 2003). Untitled, 1979- 1984. Ink on paper. Framed in museum glass. Signed in the lower right corner. Measurements: 21 x 30 cm; 29 x 38 cm (frame). On the graph paper there is a study, reflections of the artist, which shows us the previous and conceptual work. In fact, in the collection of the Museo Nacional Centro de Arte Reina Sofía, there are several pieces of larger dimensions that reflect the aesthetic concept that the artist embodies in this work. Examples of this are the pieces Coraina, Dione and Merata. Manuel Barbadillo began his training in the studio of José Arpa (1941), and later moved to the workshop of sculptor Emilio García Ortiz, where he remained between 1944 and 1947. He finally completed his training at the School of Arts and Crafts between 1951 and 1953. At the same time he studied law, and when he finished his studies in 1954 he exhibited for the first time at the Ateneo de Sevilla. He then traveled to Morocco, where he remained until 1957, and there he definitively left figuration behind to focus on abstract experimentation. When in 1959 he moved to New York, where he remained until 1962, his work was framed in the informalist abstraction, at first showing influences of abstract expressionism. However, his language will soon derive in the line of the reduction of color, until deriving in sober, monochrome works, dense in pictorial matter and of an accentuated experimental character. Towards 1960 his work enters a new stage, marked by structuring and the search for an increasingly rational and balanced language. Finally, around 1963 his painting reached maturity through compositional schematization, the elimination of matter, symmetry and the use of repetitive forms. This simplification will finally lead him to the binary language, and from 1964 he replaces the concept of form with that of module, thus beginning the longest and most fruitful period of his production. In 1968 he was invited to participate in a course at the Centro de Cálculo de la Complutense, and that same year he took part in the Seminar on Automatic Generation of Plastic Forms at the same center, something that would be key in his career. Since then Barbadillo will establish a close relationship with the computer, understood as a working tool. Throughout his career, Barbadillo has been a member of the Computer Arts Society and the Artistic Council of the Gesellschaft für Computer Grafik und Computer Kunst in Munich, and has shown his work in exhibitions held in Spain, Morocco, Argentina, Venezuela, the United States and Germany, as well as participating in group exhibitions around the world. He is currently represented in the MNCA Reina Sofía, in the Centro Andaluz de Arte Contemporáneo and in numerous public and private collections in Europe and America. Framed in museum glass.

Valorac. 2 000 - 3 000 EUR

Lote 77 - MANOLO VALDÉS, (Valencia, 1942). "Lady of Elche". Glazed ceramic with wooden base. Measurements: 22,50 x 18,50 x 21 cm, 26,50 x 18,50 x 21 cm (with base). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.

Valorac. 2 400 - 2 600 EUR

Lote 78 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). Lithograph, copy 59/99. Signed and justified by hand. Measurements: 85 x 67 cm; 87 x 69 cm (frame). The paper has stains. Tàpies begins in the art during the long convalescence of a pulmonary disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. As a result of his solo exhibition in 1953 at the New York gallery of Martha Jackson, his international projection is strengthened. He was awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Prize of Culture, the Grand Prize of Painting of France, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofia in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Valorac. 700 - 900 EUR

Lote 79 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Suite Berlin". Lithograph on Arches paper, copy 144/150. Signed and numbered by hand. Tàpies Galfetti II, p. 109, fig. 484. Measurements: 56 x 76 cm. Antoni Tàpies begins in art during his long convalescence from a lung disease. Progressively he will dedicate himself with greater intensity to drawing and painting, and finally he leaves his law studies to dedicate himself completely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Valorac. 800 - 900 EUR

Lote 80 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). Untitled. Engraving intervened with collage and waxes, copy 32/130. Signed, dedicated and justified by hand. Measurements: 90 x 61 cm; 97 x 69 cm (frame). Clavé intervenes this engraving with waxes and different papers to experiment with the overlapping of textures and materials, resulting in an aesthetic décollage characteristic of his work. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Trained at the Escuela de Bellas Artes de San Jordi in Barcelona, Clavé was initially dedicated to advertising graphics, illustration and decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Valorac. 2 400 - 3 000 EUR

Lote 81 - ANTONIO LÓPEZ GARCÍA (Tomelloso, Ciudad Real, 1936). "Quinces, pomegranate and rabbit head", work based on a pencil drawing on cardboard made by the artist in 1988. Etching and aquatint engraving, copy 52/60. Signed and justified by hand. Measurements: 46 x 53 cm (print); 66 x 72 cm (paper). Painter and sculptor, Antonio López studied between Madrid, in the Academy of San Fernando, and Italy, where he traveled thanks to a scholarship. During his student period he formed, together with other artists such as Enrique Gran, Amalia Avia or Lucio Muñoz, what has come to be called the Madrid School. After finishing his studies, in 1957, he made his individual debut in Madrid. Since then he reiterated his presence in galleries in Europe, the United States, China and Korea, and in 1993 the Reina Sofia Museum in Madrid dedicated an anthological exhibition to him. He is a member of the San Fernando Academy, and his awards include the Prince of Asturias Award for the Arts and the Velázquez Award for Plastic Arts. In 2008 the Museum of Fine Arts in Boston dedicated a monographic exhibition to him, and in 2011 the Thyssen-Bornemisza and the Museum of Fine Arts in Bilbao will do the same. He is represented at the Museum of Fine Arts in Boston, the ARTIUM in Vitoria, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Juan March Foundation and the Museum of Fine Arts in Bilbao, among others.

Valorac. 1 200 - 1 500 EUR

Lote 82 - MANUEL CASTRO (Cordoba, 1944 - Barcelona, 2020). "Metropolis" 2002. Oil on panel. Signed in the lower right corner, signed and titled on the back. Measurements: 162 x 114 cm. Manuel Castro was a singular artist, who was represented by the Barnadas gallery in Barcelona. The latter wrote about the artist: "By generation he should have been an abstract painter, but he stubbornly followed his path towards a personal and narrative figuration". Manuel Castro has been present since the beginnings of the Barnadas gallery, starting with an exhibition of engravings in 1993, followed by multiple solo and group exhibitions, as well as successful appearances at international fairs such as Miart (Milan) or Start (Strasbourg). With a nostalgic and dreamy look, Castro, through his work, tells us that it is important to look at reality with criteria, from a certain prism, where beauty, be it a landscape, a tapestry or a library, endures the passage of time. Already in the 1960s his language was figurative, moving away from the prevailing abstract expressionism. Castro reincarnates the model of the free-spirited artist, not for the rebellious cry of a more or less groundbreaking work, but to follow his own rhythm with courage and talent and, without influences, to create his consistent legacy. His work is in the Vilacasas Foundation.

Valorac. 5 500 - 6 000 EUR

Lote 83 - JACQUES VILLON (Damville, France, 1875- Puteaux, France, 1963). "En Colère, 1952. Original drawing for lithograph on paper. Published in 1959 by Edition d'Art du Lion. Signed and dated in the lower right corner. Size: 45,5 x 33 cm; 75 x 67 cm (frame). Jacques Villon was a French cubist painter actually called Gaston Émile Duchamp. Under the pseudonym "Jacques Villon", he began to produce illustrations in humorous Parisian newspapers, in which he satirised the subject of religion or the army, as well as other fundamental aspects of conventional 19th century morality. Villon exhibited at the Salon des Indépendants in Paris in 1911 and at the first exhibition of the Society of Independent Artists in New York in 1917. He also produced works for the Societé Anonyme exhibition held at the Brooklyn Museum in 1926, which brought together works by Picabia and Marcel Duchamp (his brother) among others. He exhibited his work in various galleries in Europe and the United States, including the Brummer Gallery in New York and the Galerie Louis Carré in Paris and New York.

Valorac. 4 500 - 4 700 EUR

Lote 84 - MIGUEL MACAYA (Santander,1964). "Bullfighter", 1992. Mixed media on paper. Signed. Size: 58 x 50 cm; 86 x 79 cm (frame). A nationally and internationally recognised painter, Miguel Macaya made his individual debut in 1986 in his native city, with an exhibition held in the Pancho Cossío gallery. Two years later he presented his work in the Cartoon gallery in Barcelona, and in the nineties he began to hold exhibitions in Madrid: Jorge Albero gallery in 1994 and 1997, Nolde in 1996 and 1999, etc. He made the international leap in 1999 with a solo exhibition held at the Arcturus gallery in Paris, and the following year he presented his work at the prestigious Sala Parés in Barcelona, a gallery with which he has collaborated since then. He continues to exhibit regularly as a solo artist in Spain and France, as well as in the Netherlands, Germany and the United Kingdom. He has also participated in fairs such as Antica Namur in Belgium, Strasbourg (both in 2014), Arco in Madrid (2001), Art London in the British capital (2008) and Art Madrid (2011-2015), among others. In parallel, since 1992 he has taken part in important national and international group exhibitions. The first was held by the Delfina Studio Trust in London in 1992, and he has subsequently taken part in other important exhibitions such as those held at the Design Center de la Recoleta in Buenos Aires (1998), the Fundació Vila Casas in Barcelona (1999), the Vieleers gallery in Amsterdam (2003), etc. Macaya's work possesses an intense and dark expressiveness, as well as a Goyaesque vein that is particularly evident in his bullfighting works. In this sense, the critic Enrique Lynch wrote that his painting "points the eye towards the sublime precisely because, without renouncing the light, it directs us towards the dark side of vision: towards what we cannot (or do not want to) see, the unknown background to which his characters turn their backs on us". It is a work, in any case, that plays at mystery, at the game of revealing only part of the chiaroscuro, at suggesting questions to the spectator. Miguel Macaya is currently represented at the Fundació Vila Casas, and has been awarded the First Prize for Young Painting by the Fundació Banc de Sabadell-Sala Parés (2001).

Valorac. 2 500 - 2 800 EUR

Lote 85 - VICTOR MIRA (Zaragoza, 1949 - Munich, 2003). "Naked women in a landscape of Cantabrian artichokes". 1973 Mixed media on paper Signed and dated in the lower area. Certificate of authenticity issued by Esther Romero Fajardo attached. Measurements: 36 x 55 cm; 55 x 75 cm (frame). Painter, sculptor, engraver and writer, his training was basically self-taught. When he was eighteen years old he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

Valorac. 1 500 - 1 600 EUR

Lote 86 - Celluloid of DRAGON BALL Celluloid and adhered drawing. Measurements: 23 x 26,5 cm; 24,5 x 27 cm. Dragon Ball is a Japanese manga cartoon series created by Akira Toriyama in 1984. The initial manga, written and illustrated by Toriyama, was serialized in Weekly Sh?nen Jump from 1984 to 1995, with 519 individual chapters. Dragon Ball was originally inspired by the 16th century Chinese classic novel Journey to the West, combined with elements from Hong Kong martial arts films. The series follows the adventures of protagonist Son Goku from childhood to adulthood as he trains in martial arts. He spends his childhood away from civilization until he meets a teenage girl named Bulma, who encourages him to join her on her quest to explore the world in search of the seven orbs known as Dragon Balls, which summon a wish-granting dragon when gathered. Along his journey, Goku makes several more friends, becomes a family man, discovers his alien heritage and battles a wide variety of villains, many of whom also seek the Dragon Balls.

Valorac. 200 - 300 EUR

Lote 87 - Celluloids of CARDCAPTOR SAKURA Set of two celluloids and two drawings. One of the drawings is adhered to the celluloid. Measurements: 23 x 26,5 cm (x2); 24,5 x 27,5 cm. Cardcaptor Sakura abbreviated as CCS, is a Japanese manga series written and illustrated by the manga group Clamp. Serialized monthly in the sh?jo manga magazine Nakayoshi from the June 1996 to August 2000 issues, it was also published in 12 tank?bon volumes by Kodansha between November 1996 and July 2000. The story centers on Sakura Kinomoto, an elementary school student who discovers magical powers after accidentally releasing a set of magic cards into the world; she must retrieve the cards to prevent a catastrophe. Each of these cards grants different magical powers, and can only be activated by someone with inherent magical abilities. A sequel to Clamp, Cardcaptor Sakura.

Valorac. 200 - 300 EUR

Lote 88 - HEIDI celluloid. Celluloid and drawing adhered. Measurements: 23 x 27 cm. Considered a classic of animation, Heidi became known thanks to the Japanese adaptation released in 1974 inspired by the book of the same name by Swiss writer Johanna Spyri. Heidi is an orphan girl who lives with her aunt in a village near the Alps in Switzerland. When her aunt gets a new job in Frankfurt, the little girl has to move to her grandfather's house in the middle of the mountains. There she meets Peter, her shepherd friend.

Valorac. 200 - 300 EUR

Lote 89 - Celluloid of INUYASHA Celluloid, drawing and background. Measurements: 23 x 26,5 cm; 24,5 x 27 cm (drawing); 26 x 36 cm (background). Inuyasha is a Japanese manga series written and illustrated by Rumiko Takahashi. It was serialized in Shogakukan's Weekly Sh?nen Sunday sh?nen manga magazine from November 1996 to June 2008, with its chapters collected in 56 tank?bon volumes. The series begins with Kagome Higurashi, a fifteen-year-old high school girl in present-day Tokyo who is transported to the Sengoku period after falling into a well at her family shrine, where she meets the half-dog, half-human demon Inuyasha. When the sacred Shikon jewel resurfaces from deep within Kagome's body, she inadvertently shatters it into dozens of shards that are scattered throughout Japan. Inuyasha and Kagome set out to recover the fragments of the Jewel, and are joined in their quest by the lecherous monk Miroku, the demon hunter Sango and the fox demon Shipp? Together, they journey to restore the Shikon Jewel before it falls into the hands of the evil half-demon Naraku.

Valorac. 700 - 1 000 EUR

Lote 90 - Celluloid of THE KNIGHTS OF THE ZODIAC. Celluloid and drawing. Measurements: 22,5 x 25,5 cm (celluloid); 24,5 x 27 cm (drawing). In 1986 the mangaka (Japanese word designated to refer to the creator of a comic book) Masaki Kuramada began his definitive and most successful work: Saint Seiya, which consisted of 28 volumes of manga, 114 chapters of anime, 5 movies and the subsequent animation of the last saga of the manga (Hades), with 31 OVAs. Today, the success of the series continues.

Valorac. 400 - 500 EUR

Lote 91 - CARDCAPTOR SAKURA Celluloids Set of two celluloids and drawings. Measurements: 23 x 26,5 cm (x2); 24,5 x 27,5 cm. Cardcaptor Sakura abbreviated as CCS, is a Japanese manga series written and illustrated by the manga group Clamp. Serialized monthly in the sh?jo manga magazine Nakayoshi from the June 1996 to August 2000 issues, it was also published in 12 tank?bon volumes by Kodansha between November 1996 and July 2000. The story centers on Sakura Kinomoto, an elementary school student who discovers magical powers after accidentally releasing a set of magic cards into the world; she must retrieve the cards to prevent a catastrophe. Each of these cards grants different magical powers, and can only be activated by someone with inherent magical abilities. A sequel to Clamp, Cardcaptor Sakura.

Valorac. 200 - 300 EUR

Lote 92 - Celluloid of THE KNIGHTS OF THE ZODIAC. Celluloid and drawing. Measurements: 23 x 26,5 cm (celluloid); 24,5 x 27 cm (drawing). In 1986 the mangaka (Japanese word designated to refer to the creator of a comic book) Masaki Kuramada began his definitive and most successful work: Saint Seiya, which consisted of 28 volumes of manga, 114 chapters of anime, 5 movies and the subsequent animation of the last saga of the manga (Hades), with 31 OVAs. Today, the success of the series continues.

Valorac. 400 - 500 EUR

Lote 93 - Celluloid. "Fall". Acetate and drawing on the back. Measurements: 23 x 36 cm; 40,5 x 51 cm (frame). Acetate with drawing showing a fall. Most manga conform to a style developed in Japan in the late 19th century, having a long history in earlier Japanese art. The term manga is used in Japan to refer to both comics and cartoons. Outside of Japan, the word is usually used to refer to comics originally published in Japan . The medium includes works in a wide range of genres: action, adventure, business and commerce, comedy, detective, drama, historical, horror, mystery, romance, science fiction and fantasy, erotica (hentai and ecchi), sports and gaming, and suspense, among others.

Valorac. 200 - 300 EUR

Lote 94 - JOSE MARIA YTURRALDE, (Cuenca, 1942). "Postlude", 1998. Acrylic on paper. Signed and dated at the bottom. Measurements: 30 x 30 cm; 35 x 35 cm (frame). The series "Horizons", begun by Yturralde during 2009, is a sample of the exploration and search of color, light and sensory. This horizontal horizon marks the starting point of the sensory experience of the human being, a concept related to the culture of the Tuaregs, and even the Japanese "haiku" (poems). In this way, the artist highlights the infinity of the horizon, associated with the infinite vision of the desert. During the consecutive years, Jose María Yturralde continues to shape the concept of limit and beginning, also associated with scientific fields such as space-time distortions. In 2014, he continues to add aspects related to the treatment and design of these limits that take the form of vertical and horizontal black lines in the middle of balanced and colorful structures. D. in Fine Arts from the Polytechnic University of Valencia, Yturralde is a full member of the Royal Academy of Fine Arts of San Carlos. He made his solo debut in 1969 with an exhibition held at the Centro de Cálculo de la Universidad de Madrid. He soon began to receive outstanding awards, including a scholarship to study at the Massachusetts Institute of Technology. Yturralde has exhibited and lectured all over the world, and has participated in major international group shows since the beginning of his career: São Paulo Biennial (1967), Museum of Fun in Tokyo (1979), Spanish Institute in New York (1996), etc. Particularly noteworthy are his solo exhibitions held at the M.I.T. and the Reina Sofia Museum in Madrid, as well as in various Parisian, Moscow, Spanish, American and Japanese galleries. Yturralde is represented in national and international museums such as the Museum of Abstract Art in Cuenca, the Brooklyn Museum, the Harvard Museum, the Asahi Shimbun in Tokyo, the Novgorod State Museum in Russia, the Patio Herreriano in Valladolid and the Museo Nacional Centro de Arte Reina Sofía.

Valorac. 2 200 - 2 400 EUR

Lote 95 - LLUÍS CLARAMUNT (Barcelona, 1951 - Zarautz, Gipuzkoa, 2000). "Madrid", 1984. Oil on canvas. Signed and dated in the upper left corner. Measurements: 81 x 100 cm. Painter, draftsman, photographer and engraver of self-taught formation, Lluís Claramunt spent his life between Barcelona, Madrid, Seville, Bilbao and Marrakesh, and developed a work influenced by Isidre Nonell and marked by an expressionism in its beginnings, which will gradually disappear until it becomes a minimal calligraphy. Since the seventies he held solo exhibitions in prominent galleries such as Dau al Set in Barcelona, Quatre Gats in Palma de Mallorca, Juana de Aizpuru in Seville or Buades in Madrid, and also participated in Arco (1984, 1988). He also had solo exhibitions in New York, Amsterdam, Graz (Austria) and Lisbon. Likewise, in 2012 his work was shown in the solo exhibition "El viatge vertical", held at the MACBA in Barcelona. He is currently represented in that museum, the Fundació Vila Casas, the La Caixa Collection, the Museo de Bellas Artes de Álava, the Asociación Colección de Arte Contemporáneo de Madrid, the Consejo Superior de Deportes and the Ministerio de Cultura in the same city and the Colección Caja Madrid. Recently Claramunt has exhibited at the prestigious gallery Marc Domenech in Barcelona, who dedicated his exhibition "Luis Claramunt. Años 80" entirely to the artist's work. The exhibition, held in May 2016, featured more than seventy works that demonstrated the artist's predilection for urban spaces, represented through a totally expressionistic palette in which a dynamic and vibrant palette predominates.

Valorac. 2 000 - 2 400 EUR

Lote 96 - ISABEL ESTEVA ORTIGA (Barcelona, 1958) "Bathtub", 1983. Oil on canvas. Signed in the lower right corner. Measurements: 110 x 205 cm; 115 x 210 cm (frame). Painter and photographer who finds the essence in the representation of nature and its states, as well as in the Mediterranean culture. Rhythms, shadows, colors and lights that wrap images that under an apparent austerity evoke us to the origins of our existence. His production dispenses with any superfluous element to ennoble the expressiveness of lines and colors in an approach to primitivism and simplicity.

Valorac. 700 - 900 EUR

Lote 97 - FREDERIC AMAT NOGUERA (Barcelona, 1952). Untitled, 2002. Mixed media (collage, oil) on wood. Signed and dated in the lower right corner. Measurements: 70 x 100 cm; 83 x 114 cm (frame). Painter, engraver and scenographer, Amat develops a work ascribed to the experimental and conceptual tendencies of the seventies. His themes revolve around death, violence, sex and architectures, real or imaginary. Trained in Barcelona, between 1975 and 1982 he traveled through North Africa, Mexico and the United States. He has exhibited in France, Germany, Italy and the United States, and between 1993 and 1994 he was the subject of a major retrospective at the Museo Rufino Tamayo in Mexico, the Fundación Joan Miró and the Instituto de América in Granada. Amat is represented at the Museum of Contemporary Art in Barcelona.

Valorac. 1 500 - 1 800 EUR

Lote 98 - JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997). "From Lucas Cranach", 1953. Oil on canvas. Signed in the lower right corner. Signed, titled and dated on the back. With Oriol Galeria d'Art label on the back. Measurements: 100 x 80 cm; 105 x 86 cm (frame). The one now being auctioned is an early work of the painter Josep Roca Sastre, corresponding to a stage prior to the realization of his intimate interior scenes. The canvas is a metaphysical version of the work "The Three Graces" by Lucas Cranach the Elder, a panel painted by the master in 1531 and now kept in the Louvre Museum in Paris. Trained in Barcelona, in the sixties Roca began to develop a personal, independent style and created his own language. His proposal focused on recovering the look of the close and the everyday, the familiar. He exhibited for forty years in the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honor at the Salon des Artistes Français in Paris. In 1980 he became a member of the Royal Academy of Fine Arts of Sant Jordi, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell. Roca Sastre developed a figurative style of intimate themes, applying a personal and subjective look to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is preserved in the National Museum of Art of Catalonia.

Valorac. 3 000 - 3 500 EUR

Lote 99 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Retour du Japon", 1975-1986. Mixed media (oil and collage) on canvas. Titled and dated on the back. Signed. Measurements: 77 x 46 cm; 100 x 70 cm (frame). The series "Retour du Japon" reveals Clavé's close relationship with Japanese culture. Made between 1986 and 1987, it consists of a series of works in which the author captures the impressions received during his stay in the country. The presence of contrasting colors and the influence of the Zen spirit and Taoism are the distinctive features of the series. Clavé presented his first paintings of this series in 1986 at the Chozo Yoshii gallery in Paris, the same year in which he held four exhibitions in four museums in Japan: the Metropolitan Teien in Tokyo, the National Art Museum in Osaka, the Kiyoaru Shirakaba and the Yamanashi-Ken in Hakone. The following year, in 1987, he will present the series at the Sala Gaspar in Barcelona. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Trained at the Escuela de Bellas Artes de San Jordi in Barcelona, Clavé was initially dedicated to advertising graphics, illustration and decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. In this same decade of the fifties is when he began his intense work in the world of ballet and theater, achieving great fame in the world of international scenography. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar award. In 1954, he abandoned set design to devote himself to painting. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Valorac. 5 000 - 6 000 EUR

Lote 100 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Vanitas blau", Barcelona, 1991. Oil on canvas. Signed and dated in the lower right corner. Signed, dated, located and titled on the back. Measurements: 130 x 130 cm; 132 x 132 cm (frame). Llimós became known in 1964, with a joint exhibition with, among others, Arranz Bravo, Bartolozzi and Gerard Sala, with whom he worked as a team until 1969. His work can be found in outstanding collections such as the National Art Museum of Catalonia, the Espirito Santo Museum of Modern Art in Brazil, the Contemporary Art Collection in Madrid, the Fine Arts Museums of Alava and Seville, the Fondazione Lucio Amelio in Naples, the Salvador Allende International Museum of Resistance in Santiago de Chile, the Peter Stuyvesant Foundation in Amsterdam, the Palau Solleric in Palma de Mallorca and the MACBA in Barcelona, among others. His work, with an expressive and intense stroke, oscillates between figuration and symbolic abstraction, with a strong attraction for the animal world, often the subject of his work, as can be seen in the painting we now present.

Valorac. 2 000 - 2 500 EUR

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Lote 65 - Set of 6 skates. Screen-printed wood. Measurements: 80 x 20 cm. Six screen-printed skateboards, Calvin Klein, Louis Vuitton, Gucci, Chanel, Rolex and Ralph Lauren brands.