10th September - Contemporary Art

Lotto 1 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). "Atanor", 1989. Acrylic on canvas. Signed, dated and titled on the back. Presents a label of the gallery Soledad Lorenzo. Measurements: 150 x 150 cm; 154 x 154 cm (frame). The term "Atanor" has clear alchemical connotations. By using it as a title, Ràfols-Casamada may be suggesting an internal and spiritual transformation, a process of creation and change that vertebrates both art and life. On a brown background with sienna strokes different conduits and small orifices describe a cryptic cartography that may evoke the system of tubes, crucibles and clay atanores used by alchemists. Ràfols Casamada's abstraction is soaked here with lyrical cadences, and awakens deep emotions with the minimum elements. The earthy, sienna and amber colors interrupted by mottled blues refer us to the idea of alchemical combustion and the fire that transmutes and purifies the materials. Painter, educator, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. 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. The post-impressionist paternal 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 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 Premio de las Artes de la CEOE 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.

Stima 14 000 - 16 000 EUR

Lotto 2 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Dance of time II", 1979. Bronze with green patina. Exemplary 44/350. Edition limited to 350+35 E.A. Marble base. Signed on the lower left side of the base and numbered on the front of the base. With foundry stamp on the front of the base. A copy of the certificate of authenticity is enclosed. Measurements: 30,5 x 24 x 24 cm (figure); 2,5 x 24,5 x 25 cm (marble base). The motif of the melted clock has probably been the most praised of Dalí's surrealist objects. In the painting "The Persistence of Memory" (1931), the soft clocks slipped from their supports and slid through an arid terrain of metaphysical cadences. The sculptural clock shown here was conceived by Dalí forty years later. The green patinated bronze and golden bronze details seem to melt like a liquid gem, suggesting to us that linear and objective time does not exist, but is malleable and subjective, playful and elastic like this clock whose dial and Arabic numerals are elongated and distorted by the effect of gravity. Dalí, a great reader of Freud, supported the Freudian concept of the "elasticity of psychic time" (that of memory and dreams) and managed to give it a unique visual form. It should also be noted that Dalí's works with melted clocks contain an underlying critique of the rigidity of time in modern society, where people are often dominated by the clock and the concept of linear time. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. His language absorbed the influences of many artistic styles, from classical academicism to the most groundbreaking avant-garde. At that time, the painter grew an eye-catching moustache imitating Velázquez's, which would become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "Un perro andaluz" (An Andalusian Dog), which showed scenes from the surrealist imaginary. In August of that same year he met his muse and future wife Gala. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. His work greatly influenced the direction of surrealism for the next two years, and he was hailed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to art dealer Julian Levy. As a result of his first individual exhibition in New York, his international projection was definitively consolidated, and since then he has been showing his work and giving lectures all over the world. Most of his production is gathered in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London.

Stima 15 000 - 18 000 EUR

Lotto 3 - DENNIS OPPENHEIM (Washington, 1938 - New York, 2011). Untitled, 1987. Mixed media on paper. Signed and dated on the right side. Measurements: 96 x 126 cm; 100 x 130 cm (frame). Dennis Oppenheim was an American graphic artist and sculptor. Oppenheim was born in Washington state in 1938 and trained at the California School of Arts and Crafts. In 1966 he moved to New York, where he lived and worked until his death at the age of 72. After coming into contact with the most important generations of artists of the 20th century, he became one of the forerunners of conceptual art, pioneering as a performance artist. His public recognition came at the end of the 1960s as a representative, along with other artists, of the Land Art movement. He was one of the leading contemporary artists on the international scene. Oppenheim's work is present in more than 70 major museums, collections and public spaces around the world. In Spain, his works could be seen at the Reina Sofia Museum in Madrid in 2005 and also through a retrospective organized by the Cristóbal Gabarrón Museum-Foundation in Valladolid in 2004, which later traveled to the Círculo de Bellas Artes in Madrid and other cities. He also has permanent public works in three Spanish locations: Stage Set for a Film, installed in the Paseo de Zorrilla in Valladolid in 1998, Crystal Garden, inaugurated in the Madrid municipality of Navalcarnero in February 2007 and Device to Root out Evil, installed in the city of Palma de Mallorca in 1997 and which is a replica of the one made in 1966 in Venice by the same author. Oppenheim's work is present in major museums, collections and public spaces around the world.

Stima 10 000 - 12 000 EUR

Lotto 4 - "LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971). Untitled, 1956. Mixed media on canvas. Signed and dated on the back. Provenance: Gallery of the Missions, Montevideo. Measurements: 40 x 56 cm; 45 x 54 cm (frame). In this work we can appreciate the influence of Geometric Abstraction and kineticism of the European avant-garde, treated from a perspective where the minimal elements are articulated in a dynamic dialogue, in which circles, inclined triangles and diagonal bands function as a demiurgic alphabet. The tension between harmony and imbalance, the stable and the mobile is sought. Loló Soldevilla is considered one of the most relevant figures of Geometric Abstraction and Kineticism, both for her achievements during her career and for her efforts to promote Cuban art inside and outside the borders of her country. He always showed a political involvement through his art, both in his country and abroad, taking an active part in the campaigns to help the Spanish Republic after the outbreak of the Civil War. His artistic career always stood out for experimentation, not only stylistically but also technically, creating works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Grande Chaumière Academy, making frequent trips and exhibitions in Cuba to show his work. In 1951 she entered the workshop of Dewasne and Pillet, where she remained for two years, and attended a course on engraving techniques by Hayter and Cochet, maintaining and promoting creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as editor and during the 1960-61 academic year she established herself as professor of plastic arts at the School of Architecture of the University of Havana. From that moment on Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the Granma newspaper. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the Diez Pintores Concretos group; she was a member of the UPEC and the UNEAC and collaborated in Bohemia. During his life his work was exhibited in relevant artistic spaces such as the Palace of Fine Arts of Cuba, in Caracas (Venezuela), Paris, in Valencia, Valladolid (Spain), Czechoslovakia, etc, achieving a great recognition of his work at a global level. Today his work is preserved in numerous private collections around the world and in institutions such as the National Museum of Fine Arts of Cuba (where the main collection is kept).

Stima 9 000 - 10 000 EUR

Lotto 5 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Feuille et pochoir". 1970. Mixed media on paper adhered to canvas. Signed and dated in the lower margin. Presents label on the back of the Gaspar Room and the Pelaires Room. Measurements: 76 x 53 cm; 106 x 84,5 cm (frame). The title of this work, "leaf and stencil", suggests the idea of formal experimentation and palimpsest with the use of cut out stencils and sheets of paper, a technique that Clavé used, both in engraving and painting, to create works with a great richness of textures. The handling of light and shadow is one of his achievements, making black silhouettes emerge through the superimposition of layers. Likewise, lyrical and geometric abstraction intertwine on the surface, creating ambiguous sensations on a navy blue background. 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.

Stima 10 000 - 12 000 EUR

Lotto 6 - CARLOS MATA (Palma de Mallorca, 1949 - Barcelona, 2008). "Horse S/T", 1997. Cast iron. Unique piece. Attached certificate issued by Margarita Yarmats, last sentimental companion of the sculptor. Signed on the base. Measurements: 33 x 30 x 13,5 cm. The equine theme was predominant in the singular work of Carlos Mata. The basic forms to which this sculpture subsumes (it should be noted that this is a unique work, with no other examples) are rooted in the ancient Mediterranean civilizations, in the cradle of our culture. Iron, in his hands, is endowed with an extemporaneous patina, archaic and avant-garde at the same time. In his sculptures, Mata was always faithful to this reduction of objects to their essence and of silhouettes to pure lines. It is precisely this purity that makes the warmth of the iron texture shine even brighter, competing in prominence with the shape of the piece itself. Mata opted for bronze or iron to reflect the warmth of manual labor, with its arid and irregular, rough surfaces, inviting to touch, and also with its fluid, soft, rounded crevices. Sculptor, painter and engraver, Carlos Mata studied Fine Arts in Barcelona and Paris, cities between which he has shared his residence since his formative years. He held his first solo exhibition at the Canalls gallery in Sant Cugat del Vallés in 1976, and this first exhibition was followed by others in Barcelona, France and Germany. Among his most recent exhibitions are those held at the Kreisler gallery in Madrid, Casal Soleric in Palma and Can Marc in Girona. His sculptures in unpolished cast iron take advantage of their austere and rough qualities in figurative stylizations of a certain primitivism and archaeological evocation, generally taking as a theme animals, such as bulls or horses. The same schematic intention can be seen in his painting, of a neo-figurative, planist type, with a contained and reduced chromatic range. In 2008, as a posthumous tribute, an important anthology of his work was held at Haras du Pin, in Normandy, France. It was a retrospective consisting of 35 bronze horses, in addition to his jewelry collection.

Stima 9 000 - 10 000 EUR

Lotto 7 - JAUME PLENSA (Barcelona, 1955). "Freud's children" 2002. Mixed media on paper. Signed and dated in the lower left corner. Provenance: -galerie Alice Pauli (Lausanne) - Christie's. Measurements: 58 x 41 cm; 66 x 50 cm (frame). "Freud's Children" was the title under whose umbrella Jaume Plensa placed several works (a sculpture and drawings) in which he alludes metaphorically and allegorically to the child psyche in relation to psychoanalysis, trauma, introspection and culture. Through bodily fragmentation and concepts that evoke the complexity and fragility of the human mind, Plensa explores in a subtle and not very evident way the nature of the subconscious and its relationship with the development of language. Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

Stima 8 000 - 9 000 EUR

Lotto 8 - FORD BECKMAN (Columbus, 1952-Tulsa, 2014). "Black wall painting," 1990-1991. Acrylic, enamel, wax and industrial varnish on canvas. Exhibitions: 2009 (March 26-May 17), "Private Life. Representations of contemporary tragedy and banality", MUBAG, Alicante. Bibliography: "La vida Privada. Representations of contemporary tragedy and banality", Ed. MUBAG, Alicante 2009, p. 83. Measurements: 200 x 205 cm. The first thing that comes to mind when contemplating this painting is Malevich's "Black square on white". Malevich believed that art should not imitate the real world, but create its own reality. The black square has been read in an infinite number of ways in the course of art history: as an idea of infinity, as nothingness or emptiness in the Eastern sense, as pure energy, or as the impossibility of representation. Ford Beckman takes up the reflection on the nature of art and the limits of representation, but introduces a particular twist. In "Black wall painting", technical experimentation is evident in the unusual combination of materials (acrylic, enamel, wax and industrial varnish), resulting in a work that, although in dialogue with the Suprematist tradition and its derivatives (hard-edge painting, geometric abstraction), does not seek to conceal the brushstroke or hide the human trace, but on the contrary emphasizes the importance of the support and gives the drips and imperfections an aesthetic patina. Having initially trained in the field of advertising and fashion, Ford Beckman developed a pictorial work free from pre-established precepts of what contemporary artistic practice is supposed to be. This allowed him to explore abstraction with complete freedom, but also to delve into the exploration of an unconventional figuration. Ford Beckman was a successful fashion designer in New York in the 1980s before devoting himself entirely to the fine arts in the 1990s, especially painting. In the late 1980s, Beckman moved into a Manhattan studio and held his first solo exhibition in New York in 1988. In 1992, Beckman opened his first solo show in Europe at the Hans Mayer Gallery in Düsseldorf. Ford Beckman's works were acquired in Europe by collector Giuseppe Panza and the Essl Collection, among others. Beckman was a friend of Cy Twombly. His was a blazing career. Beckman moved to Tulsa, Oklahoma, where he died at the age of 62. Solo exhibitions (selection): 1990: Tony Shafrazi Gallery, New York; 1992: Hans Mayer Gallery, Düsseldorf; 1996: Kestnergesellschaft, Hannover.

Stima 12 000 - 15 000 EUR

Lotto 9 - ANDRÉS NAGEL (San Sebastián, 1947). "Pita". Collage and mixed media on paper with die-cut metal foil. Signed in the upper right corner. Measurements: 46 x 63 cm; 53 x 71,5 cm (frame). Nagel finished his Architecture degree in 1972, that same year he began to research on engraving techniques and met Chillida, who would be key in his career. In the mid 70's Nagel began a great exhibition activity, both in group and individual exhibitions: Madrid, Barcelona, Bilbao, Pamplona... In 1976 he participated in the exhibition "New Spanish Painting" (New York) and two years later in an exhibition in tribute to Joan Miró in Palma. In 1980, his works were included in several group exhibitions in the United States (Austin, Tallahassee and Cleveland) and he also participated in the Fredrikstad Biennial (Norway). From the 80's onwards, his presence in international exhibitions increased. In 1982 he participated in the "II Triennial of Drawing" in Nuremberg, in 1983 in the "Biennale of Graphic Art" in Varna (Bulgaria), and in 1984 he participated in group exhibitions in Dortmund, Bonn and Basel. In 1985 he is included in a selection of works of the Spanish Museum of Contemporary Art (predecessor of the Reina Sofia Museum) exhibited at the Gulbenkian Foundation in Lisbon. In 1986 he was invited by the Iraqi government to the "Baghdag International Festival of Arts" together with Manolo Valdés and other Spanish artists. In 1987 Nagel placed a large steel sculpture in a square in Barcelona, and attended the Fiac fair in Paris with an exclusive stand (Gamarra and Garrigues gallery). The following year, the Bilbao Fine Arts Museum dedicated an anthology to his graphic work, of which a catalog raisonné was published. In 1989 the artist began a collaboration of more than ten years with the Tasende Gallery in La Jolla (California), with which he attended fairs in Chicago and Los Angeles and even exhibited at the Meadows Museum in Dallas. In May 2015, the founder of this gallery, the American of Bilbao origin José Tasende, donated 34 works by Nagel to the Bilbao Fine Arts Museum.

Stima 1 600 - 2 000 EUR

Lotto 10 - ANDRÉS NAGEL (San Sebastián, 1947). "Foot". Mixed media on paper. Signed in the lower right corner. Measurements: 60 x 48 cm; 76 x 64 cm (frame). Nagel finished his Architecture degree in 1972, that same year he began to research on engraving techniques and met Chillida, who would be key in his career. In the mid 70's Nagel began a great exhibition activity, both in group and individual exhibitions: Madrid, Barcelona, Bilbao, Pamplona... In 1976 he participated in the exhibition "New Spanish Painting" (New York) and two years later in an exhibition in tribute to Joan Miró in Palma. In 1980, his works were included in several group exhibitions in the United States (Austin, Tallahassee and Cleveland) and he also participated in the Fredrikstad Biennial (Norway). From the 80's onwards, his presence in international exhibitions increased. In 1982 he participated in the "II Triennial of Drawing" in Nuremberg, in 1983 in the "Biennale of Graphic Art" in Varna (Bulgaria), and in 1984 he participated in group exhibitions in Dortmund, Bonn and Basel. In 1985 he is included in a selection of works of the Spanish Museum of Contemporary Art (predecessor of the Reina Sofia Museum) exhibited at the Gulbenkian Foundation in Lisbon. In 1986 he was invited by the Iraqi government to the "Baghdag International Festival of Arts" together with Manolo Valdés and other Spanish artists. In 1987 Nagel placed a large steel sculpture in a square in Barcelona, and attended the Fiac fair in Paris with an exclusive stand (Gamarra and Garrigues gallery). The following year, the Bilbao Fine Arts Museum dedicated an anthology to his graphic work, of which a catalog raisonné was published. In 1989 the artist began a collaboration of more than ten years with the Tasende Gallery in La Jolla (California), with which he attended fairs in Chicago and Los Angeles and even exhibited at the Meadows Museum in Dallas. In May 2015, the founder of this gallery, the American of Bilbao origin José Tasende, donated 34 works by Nagel to the Bilbao Fine Arts Museum.

Stima 900 - 1 000 EUR

Lotto 11 - ANDRÉS NAGEL (San Sebastián, 1947). "Film projection". Mixed media on paper. Signed in the lower right corner. Measurements: 37 x 102 cm; 47 x 112 cm (frame). Nagel finished his Architecture degree in 1972, that same year he began to research on engraving techniques and met Chillida, who would be key in his career. In the mid 70's Nagel began a great exhibition activity, both in group and individual exhibitions: Madrid, Barcelona, Bilbao, Pamplona... In 1976 he participated in the exhibition "New Spanish Painting" (New York) and two years later in an exhibition in tribute to Joan Miró in Palma. In 1980, his works were included in several group exhibitions in the United States (Austin, Tallahassee and Cleveland) and he also participated in the Fredrikstad Biennial (Norway). From the 80's onwards, his presence in international exhibitions increased. In 1982 he participated in the "II Triennial of Drawing" in Nuremberg, in 1983 in the "Biennale of Graphic Art" in Varna (Bulgaria), and in 1984 he participated in group exhibitions in Dortmund, Bonn and Basel. In 1985 he is included in a selection of works of the Spanish Museum of Contemporary Art (predecessor of the Reina Sofia Museum) exhibited at the Gulbenkian Foundation in Lisbon. In 1986 he was invited by the Iraqi government to the "Baghdag International Festival of Arts" together with Manolo Valdés and other Spanish artists. In 1987 Nagel placed a large steel sculpture in a square in Barcelona, and attended the Fiac fair in Paris with an exclusive stand (Gamarra and Garrigues gallery). The following year, the Bilbao Fine Arts Museum dedicated an anthology to his graphic work, of which a catalog raisonné was published. In 1989 the artist began a collaboration of more than ten years with the Tasende Gallery in La Jolla (California), with which he attended fairs in Chicago and Los Angeles and even exhibited at the Meadows Museum in Dallas. In May 2015, the founder of this gallery, the American of Bilbao origin José Tasende, donated 34 works by Nagel to the Bilbao Fine Arts Museum.

Stima 1 500 - 1 800 EUR

Lotto 12 - JAVIER TERCERO (Valdepeñas, Ciudad Real, 1970). Untitled. Cyclic Universes Series V, 2022. Acrylic and aerosol on canvas. Attached catalog of the author. Signed, dated and titled on the back. Measurements: 181 x 120 cm. Javier Tercero, Valdepeñas studied Technical Design and Plastic Arts, specializing in "Artistic Photography", in EASDAL of Tomelloso (C. Real). He has had solo exhibitions in: Cultural Center "Cecilio Muñoz Fillol", Municipal Museum and Exhibition Center La Confianza de Valdepeñas; Exhibition Hall-Primavera-Casa del Reloj, Madrid; Centro de las Artes, Alcorcón (Madrid); IES Ramón Giraldo de Villanueva de los Infantes and EASDAL Antonio López, Tomelloso. He has also participated in other collective works, of which we highlight: IX Gregorio Prieto National Contest, Valdepeñas and Museum of the city of Madrid; X Contest of Plastic Arts Ángel Andrade of Ciudad Real; LXII National Exhibition of Plastic Arts of Valdepeñas; VI Contest Art and Energy Union Fenosa; IX National Contest Vela Zanetti (Burgos); Paloma Sanz Gallery (Madrid); International Contest of Photography PHOCO; Jesús Bárcenas Prize of Painting Municipal Museum of Valdepeñas and López Villaseñor of Ciudad Real. His works are in numerous collections of great artistic relevance among which include the collection of the Junta de Comunidades de Castilla la Mancha, the Fernando Zóbel Institute Collection. Cuenca, the Provincial Council of Ciudad Real, the City Council of Manzanares, the Contemporary Art Collection of UNION FENOSA. Museo de Pintura Hispanoamericana de Palacio de Losada and the City Council of Torrelavega, Cantabria. Among many other collections. The author's catalog is attached.

Stima 4 000 - 4 500 EUR

Lotto 13 - JOSÉ LUIS ALEXANCO (Madrid, 1942-2021). "Boscuman", 1991. Acrylic on cotton canvas. Signed and dated on the back. Titled and dated on the stretcher frame. Measurements: 150 x 150 cm; 154 x 154 cm (frame). Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda, in Madrid, and in 1960 he enters the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Center, where he worked on sculptural generation programs, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialize in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organization of the Pamplona Encounters of 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A referent of late Francoist painting and a technological innovator, his work is part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona or the Juan March Foundation.

Stima 3 500 - 3 700 EUR

Lotto 14 - JOSEP BARTOLÍ (Barcelona, 1910-New York, 1995). "Abstract", ca. 1946. Oil on panel. Signed in the lower margin. Provenance: Estate of Irena Urdang de Tours (art dealer and Holocaust survivor). Measurements: 14 x 9,5 cm; 26,5 x 22 cm (frame). Every plot of Josep Bartolí's life could have been extracted from a gripping novel. His drawings of denunciation would echo his time in concentration camps, from whose death he ended up escaping by jumping off a train. But he also experimented with abstraction, especially while in New York and Mexico. This painting ("Abstract") was probably made in New York in 1946, the year he met Frida Kalho and they fell in love, as evidenced by the love letters they wrote to each other (25 passionate letters from Fridha are preserved). The Mexican painter was in the U.S. city recovering from spinal surgery. Later, they continued their romance in Mexico. Stylistically, "Abstraction" is close to the postulates of abstract expressionism, as the artist frequented the circle of Pollock and Rothko in those years. Painter, draftsman and set designer. A disciple of Salvador Alarma and Tastàs, he collaborated with various publications (La Humanidad, La Opinión, La Esquella de la Torratxa...) as a political cartoonist. At a very young age he began to work as a cartoonist in the press and became involved in trade unionism in Barcelona at the time. Between 1933 and 1934 he presented an exhibition of drawings in Barcelona that was very successful. He was one of the organizers of the Sindicato de Dibujantes de Cataluña and of the UGT. leader in 1936. Towards the end of the Spanish Civil War he went into exile in France. Arrested by the Gestapo, he was sent to the Dachau camp, but on the way he escaped by jumping off the train and, after a long journey, he arrived in Mexico. There he resumed his pictorial activity, came into contact with the environment of Diego Rivera and Frida Kahlo, of whom he was a lover, and participated in the founding of the Prisse gallery. In the United States he was the first cartoonist of Hollyday magazine, standing out as one of the most sought-after cartoonists of the time, he made sets for historical films in Hollywood and was part of the 10th Street group, along with Willem de Kooning, Kline, Pollock and Rothko. In 1973 he received the Mark Rothko Award for Fine Arts.3 Among his illustrated books are Caliban (1971), The black man in America (1975) and Campos de concentración (Mexico, 1943; Madrid, Spain, 2006). This last title, based on texts by the Catalan journalist Molins i Fábrega, collects his extensive documentary series of pen drawings about his experience in the concentration camps.

Stima 5 000 - 6 000 EUR

Lotto 15 - MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007). "Secrot", 1992. Acrylic and material on canvas. Work reproduced full page in "Modest cuixart, Human Surgery", Girona Art Museum, 2006, p. 83. Signed, dated and titled on the back. Measurements: 92 x 73 cm; 95 x 76 cm (frame). Work reproduced full page in "Modest cuixart, Cirugía Humana", Museo de Arte de Girona, 2006, p. 83. The choice to highlight this work in the catalog was the artist's choice. Dark colors generate a dense and intriguing atmosphere. However, Cuixart balances both the concept and the composition through various points of color through which he manages to completely capture the viewer's attention, focusing and directing it through the geometric element. Establishing a visual journey that runs through the entire pictorial surface. As the Modest Cuixart Foundation points out "The last stage corresponds to the 90s and is characterized by a return to the sobriety of his best times through an introspection in the subterranean and atavistic nature that demonstrates a great maturity, technical and conceptual". In this particular case the presence of the human figure indicates those first moments of transition between two artistic stages. Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he participated in the foundation of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the beginning a strong kinship with surrealism, as well as a great sensitivity to the expressive power of color. Towards 1955 he immersed himself in material informalism, which led him to use the "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduces collage in his work in 1962, which will gradually lead him towards pop-art. Enriched by all these experiences, he returns again to flat painting, reaching a very personal critical realism, which synthesizes expressionism with dramatically transformed figuration, always valuing the chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. In addition, he participates in a group exhibition at the UNESCO Palace in Paris, receives the Cross of St. George of the Generalitat of Catalonia, and the Cross of Isabella the Catholic. In 1988, he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colors and shapes, and reincorporates a more material figuration to his work. In 1998 the foundation that bears his name was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo in Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others. Work reproduced full page in "Modest cuixart, Cirugía Humana", Girona Art Museum, 2006, p. 83.

Stima 5 000 - 6 000 EUR

Lotto 16 - LIU RUOWANG (China, 1977). "Original Sin (small)". Ceramic. Signed and dated on the base. Measurements: 36 x 13,5 x 12 cm. Liu Ruowang is a young artist who grew up after China's reform. He moved to the provincial capital from a small, poor mountain village in western China to begin his education, and later to China's capital. In 1996 he was admitted to the Fashion Design course at Xi'an Polytechnic University; later, in 1998, he dropped out of school to become a painter. He came to Beijing in 1999, where he attended the postgraduate course as a teaching assistant at the Central Academy of Fine Arts from 2002 to 2005. In 2005, his work The East is Red participated in the Light of the Academy exhibition of excellent artworks, organized by CAFA, and was awarded. Liu Ruowang's work consists of sculptural series, such as Original Sin, Wolves Coming, Heaven Soldier, The People, Melody, Dodo, and pictorial series, including Living Things. Since 2005, his works have begun to be known and appreciated in all Chinese art associations and abroad. They have been exhibited in numerous cities around the world, including Beijing, Shanghai, Singapore, Seoul, Queenstown, Venice, Turin and Büdelsdorf (Germany), where he won the NordArt award in 2016. In the same year he was awarded the Naples International Cultural Classic Award. In 2018 he opened the DoDo Art Museum, located in the northeast of Beijing, whose project he commissioned to the studio: Unarchitecte, led by Zhang Hetian. His installation "Wolves coming'' is exhibited in Naples in Piazza del Municipio from November 2019 to June 2020, then lands in Florence in Piazza SS. Annunziata and Piazza Pitti.

Stima 1 400 - 1 600 EUR

Lotto 17 - MATÍAS QUETGLAS BENEDET (Ciutadella, Menorca, 1946). "Cry for the death of Ignacio Sanchez Mejias-La cogida", 1992. Pastel on paper. Signed and dated in the upper right corner. Measurements: 30 x 40 cm; 48 x 58 cm (frame). Matías Quetglas held his first exhibition, in his native town, when he was only eighteen years old, and shortly after he went to Madrid to study at the San Fernando School of Fine Arts, where his teacher was Antonio López. Shortly before finishing his studies he was hired by the Juana Mordó gallery in the same city, with which he collaborated for fifteen years, and since then he has shown his work in Spain, France, Sweden, Germany and Italy. Currently his work is present in the Museo Nacional Centro de Arte Reina Sofía, the Calcografía Nacional, the Fundación Lorenzana, the Biblioteca Nacional, the Consell Insular de Menorca, the Atheneumin Taidemuseum in Helsinki, the Museo Tiflológico de la ONCE, the d'Arte dello Splendore in Giulianova (Italy), the Casa Solleric, the Chase Manhattan Bank Collection and many others, both public and private.

Stima 600 - 800 EUR

Lotto 18 - MATÍAS QUETGLAS BENEDET (Ciutadella, Menorca, 1946). "Crying for the death of Ignacio Sanchez Mejias-The cry", 1992. Pastel on paper. Signed and dated in the lower left corner. Measurements: 30 x 40 cm; 48 x 58 cm (frame). Matías Quetglas held his first exhibition, in his native town, when he was only eighteen years old, and shortly after he went to Madrid to study at the San Fernando School of Fine Arts, where his teacher was Antonio López. Shortly before finishing his studies he was hired by the Juana Mordó gallery in the same city, with which he collaborated for fifteen years, and since then he has shown his work in Spain, France, Sweden, Germany and Italy. Currently his work is present in the Museo Nacional Centro de Arte Reina Sofía, the Calcografía Nacional, the Fundación Lorenzana, the Biblioteca Nacional, the Consell Insular de Menorca, the Atheneumin Taidemuseum in Helsinki, the Museo Tiflológico de la ONCE, the d'Arte dello Splendore in Giulianova (Italy), the Casa Solleric, the Chase Manhattan Bank Collection and many others, both public and private.

Stima 600 - 800 EUR

Lotto 19 - JAUME PLENSA (Barcelona, 1955). Untitled, 1987. Mixed media on paper. Signed. Presents damages in the frame. Measurements: 45 x 45 cm; 87 x 87 cm (frame). From the early stages of his career, Jaume Plensa showed an unconditional interest in delving with his plastic art into the human condition. Throughout the eighties, schematic representations of characters such as the one we are dealing with are frequent, described with very few strokes but capable of transmitting emotions and a certain idea of vulnerability. In these early works, Plensa drinks distantly from expressionist and cubist sources. However, Plensa already stood out with a very marked personality in portraits like this one, where in addition to the stroke, the support and its textures also contribute to awaken empathy and emotion in us. 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 mold iron with 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, 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.

Stima 8 000 - 10 000 EUR

Lotto 20 - JAUME PLENSA (Barcelona, 1955). "My private sex", 1995. Mixed media on paper. Signed and dated. It has a tear in the lower left corner. Measurements: 59 x 51 cm. In the nineties, Jaume Plensa's creation gained momentum in the use of words, independently (and even floating in the void) or linked to a sculptural object. In addition to sculptural visual poems, he created series on napkins dedicated to gastronomy or eroticism. In this work, "My private sex" is written next to the schematic drawing of a vagina, resolved in an almost pictographic way. Plensa explores the relationship between calligraphy, identity, memory and the plastic potential of letters. 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 mold iron with 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, 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.

Stima 10 000 - 12 000 EUR

Lotto 21 - ANTONIO LÓPEZ GARCÍA (Tomelloso, Ciudad Real, 1936). "Carmen recién nacida", 2012. Steel. Copy 1/10. Enclosed certificate of authenticity issued by the author. It has a wooden and methacrylate box with a small tear. Signed and numbered. Measures. 5,5 x 7,5 x 4,5 cm; 27 x 21 x 21 x 21 cm (box). This 2012 steel piece is based on the model created by Antonio López in 1999 in which he paid homage to his newborn granddaughter. Carmen, the little girl's name, became a constant in his work, as her face allowed him to sculpt the values of childhood, the softness of forms and innocence reflected in rounded, yet gentle and delicate features. This piece is closely related to the work known as "Night" or "Carmen asleep", which is paired with the sculpture "Day" or "Carmen awake", both located in Madrid's Atocha station. A painter and sculptor, Antonio López began his artistic training in his native land, where he took classes with the master painter Antonio López Torres. It was thanks to his artistic facility, his talent and the support of his uncle, which led him to begin his studies in Madrid, at the San Fernando Academy. In order to gain admission, he attended courses at the School of Arts and Crafts in the afternoons. This preparation helped him to gain admission to the academy at the age of 14. During his time as a student he made friends with other artists of his generation such as Enrique Gran, Amalia Avia and Lucio Muñoz, what has come to be known as the Madrid School. In 1955, after finishing his studies at the School of Fine Arts, he left for Italy, where he travelled thanks to a scholarship. After finishing his studies, in 1957, he made his individual debut in Madrid at the Ateneo, with an exhibition he had prepared in his native Tomelloso. A year later, thanks to a competition held by the Fundación Rodríguez Acosta, he travelled to Greece with a grant. After his return to Madrid in the 1960s, his presence in galleries was reiterated, thanks to the contacts generated through his exhibition at the Biosca Gallery. Antonio López's work generated great interest in different parts of Europe, the United States, China and Korea. In 1993 the Reina Sofía Museum in Madrid dedicated an anthological exhibition to him. His work is characterised by the use of a realist language, showing a great interest in portraiture, although it also includes subjects such as landscape. He is a member of the San Fernando Academy, and his awards include the Prince of Asturias Prize for the Arts and the Velázquez Prize for Plastic Arts. In 2008 the Museum of Fine Arts in Boston devoted a monographic exhibition to him, as will the Thyssen-Bornemisza and the Bilbao Museum of Fine Arts in 2011. 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 Fundación Juan March and the Museo de Bellas Artes in Bilbao, among others.

Stima 16 000 - 18 000 EUR

Lotto 22 - JORDI ALCARAZ I TARRADAS (Calella, Barcelona, 1963). "Bufador", 2007. Plaster sculpture and methacrylate urn, H.C. copy. Signed and justified. Size: 36 x 17 x 17 cm. In "Bufador (Blower)" Alcaraz converts glass into mouldable material: he modifies this material at high temperatures and makes us believe that it has been deformed by the blowing of the sculptural head in captivity. Jordi Alcaraz began his artistic career in the field of sculpture and engraving. He graduated from the Taller de Músics in Barcelona and is a great fan of the plastic arts. He is self-taught in painting, writing and photography. In 2010 he started his project @ para4gatos (on social networks), based on photography, editing exclusively with mobile device applications. During this period he has made around 2000 visual metaphors, and counting. With an ironic tone, he invites the viewer to observation and reflection, to discover the poetry hidden within the most common objects, subjecting them to slight transformations and altering their function, context and habitual uses. During this period he has carried out commissions for major brands such as Schwarzkopf Professional, Harley Davidson and El Terrat de Producciones. His work has been exhibited in galleries in Pamplona, Lisbon, Bilbao and Barcelona. His musical training has led him to work for different groups of the Barcelona music scene such as Zulu 9:30, Pablo Selnik Cuarteto, Eufuria, Sexteto Guardiola, etc .... He currently collaborates with "El Periódico de Cataluña" taking different photographs, always with a poetic tone, about national current affairs. Mayka Navarro, a Barcelona journalist with a long career, defined his work very aptly: "Each image of this virtual photographer from Barcelona is an accurate punch to the senses. Jordi Alcaraz reconverts reality into committed messages that come to life and move us. Everyday objects are transformed into animated information capsules that concentrate so much intensity that sometimes it seems as if they are alive and will come running out at any moment. Since its beginnings, throughout these twenty-five years of activity, he has held numerous solo and group exhibitions in Spain, Belgium, Germany, Italy, Canada and Switzerland, and has been present at some of the most important fairs on the international contemporary art circuit (Arco, Art Basel, Art Frankfurt, Art Cologne, Art Chicago, Art Miami and Arte Lisboa, among others). He is currently represented at the Centre Cultural Contemporani Pelaires in Palma de Mallorca, as well as in various private collections around the world.

Stima 4 000 - 5 000 EUR

Lotto 23 - ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968). "Village in misery", 1951. Tempera and collage on wood. Signed on the lower right side. Work published in: "De la Serna", Cesáreo Rodriguez Aguilera, Num. 277. Measurements: 105 x 80 cm; 125 x 100 cm (frame). Ismael Gonzalez de la Serna begins his art studies in Granada and concludes them in Madrid, in the School of Fine Arts of San Fernando. In his early years he developed an eclectic pictorial style, which draws from impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what would be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo de Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the protector of the painter from Granada. De la Serna's style was, in this period, permeable to the influences of the avant-garde, mainly cubism and expressionism, which he worked in a very personal way. Likewise, the initial influence of impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong projection of his work, which began with the solo exhibition that the painter held at the influential Parisian gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition is to be found in his sensual reading of the forms of cubism, based on the relevance of a drawing of sinuous and highly decorative lines, combined with strong chromatic hallmarks. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly represented still lifes, where he accentuated the sensory side of his painting with metaphorical sensory references, such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating with a solo exhibition the activities of the Association of Iberian Artists in Madrid in 1932, the painter embarked on new paths of plastic experimentation that would lead, after the Second World War, to a more schematic and simplified painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM, etc.

Stima 6 000 - 7 000 EUR

Lotto 24 - MAN RAY (Philadelphia, USA, 1890 - Paris, 1976). "Mask", 1971. Relief in bronze. Edition of 90 copies. Signed in the lower left corner. Measurements: 17.5 x 13 cm; 42 x 37 x 4 cm. As the multifaceted artist that he was, Man Ray dabbled in all kinds of techniques and languages. In this bronze relief made towards the end of his life, he offers us a dreamlike image: the face of a sleeping man caressed by multiple hands that, like angels, watch over his dreams. A visionary artist, master of experimental photography, painter, filmmaker, poet, essayist, philosopher, and a leader of American modernism, he was known for representing the vibrant French cultural scene from his unique point of view. Man Ray began training in drawing with Robert Henri at the Ferrer Center, while, at the same time, he regularly attended Alfred Stieglitz's gallery 291. Influenced by Stieglitz's photographs, his works embraced unusual subject matter in an unabashed manner. His skills in art led him to experiment within the realm of plastic works, working in a cubist style, which drifted towards an abstract tendency. Ray also experimented with various techniques in the process of execution and photographic development, such as the so-called Sabatier effect, or solarization, providing a silvery and ghostly effect to the image, as well as rayograms. Man Ray exhibited his art in galleries in New York, London, Paris, among other cities. His innovative works can be found in museums around the world, as well as in private collections, and he is remembered for his artistic ingenuity and originality.

Stima 2 500 - 3 000 EUR

Lotto 25 - ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). Belonging to the folder "Aphorisms", 1972. Silkscreen, copy 38/45. Signed and justified by hand. Measurements: 70 x 50 cm; 83 x 61,5 cm (frame). Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual 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 held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works. 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 participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York. In 1963 the first retrospectives are dedicated to him, in the Stedelijk Museum of Eindhoven, the Rotterdamsche Kunstring and in 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 exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining 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. In 1968 he abandoned oil painting to devote himself exclusively to works on paper. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and 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.

Stima 1 600 - 2 000 EUR

Lotto 26 - IBRAHIM MIRANDA (Cuba, 1969). Untitled. Mixed media on map of Cuba. Signed in the lower right corner. Measures: 24,5 x 197 cm. Ibrahim Miranda began his artistic training at the Escuela Elemental de Arte. After finishing his studies in 1984 he continued his education by enrolling at the National School of Plastic Arts in Havana, where he specialised in engraving. In 1988 at the end of his studies he enrolled at the Instituto Superior de Arte (ISA), in Havana. In 1987 he held his first individual exhibition; Crónicas de Dylan. San Luis Art Gallery. Pinar del Río, Cuba, which initiated a great number of collective and individual exhibitions at international level. His work is currently in important art collections, including the Palace of Fine Arts in Havana, the MoMA, the Bornemisza Foundation, the Gravura Museum, the National Gallery of Art, the House of the Americas, the National Library of Rio de Janeiro, the Art Museum of Los Angeles, and Stanford University, among others.

Stima 700 - 800 EUR

Lotto 27 - MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007). Untitled, Madrid, 1970. Mixed media on paper. Signed and dated in the upper left corner. Certified by the artist on the back. Size: 36 x 50 cm; 52 x 63 cm (frame). Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting and entered the Academia Libre de Pintura in Barcelona. In 1948 he took part in the founding of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the outset a strong kinship with surrealism, as well as a great sensitivity towards the expressive power of colour. Towards 1955 he immersed himself in material informalism. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. In the 1970s he exhibited in numerous national and international capitals, including Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. He also took part in a group exhibition at the Palais de l'UNESCO in Paris, was awarded the Cross of Saint George by the Generalitat de Catalunya and the Cross of Isabella the Catholic. In 1988 he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colours and forms, and reincorporates a more material figuration into his work. In 1998 the foundation named after him was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Contemporary Art Museums of Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

Stima 2 000 - 2 400 EUR

Lotto 28 - RAY SMITH (United States, 1959). "Model" 1988. Watercolor on paper Signed and dated in the lower margin. Presents label on the back of the gallery Joan Prats, Barcelona. Measurements: 60.5 x 77.5 cm; 75 x 92 cm (frame). Ray Smith developed a fully personal work, rooted in Latin American magical realism (he lived long periods in Mexico) and European surrealism. In the watercolor painting of the eighties, both currents converge in an incisive socio-political criticism of his country of origin, which far from being literal, admits multiple readings. An American painter and sculptor born in Brownsville (Texas) but raised in Mexico, Ray Smith began his training precisely in this country, studying fresco painting with artisans trained in the local tradition. He later continued his studies at academies in Mexico and the United States, finally settling in Mexico City. He was represented by the influential art dealer Gagosian at a young age, and later showed his work with Sperone Westwater and Ramis Barquet in New York. Over the past two decades, Smith has held more than fifty exhibitions around the world, mainly in the United States and Mexico but also in Japan, Europe and South America. In 1989 he participated in the Biennial of the Whitney Museum of American Art in New York, and has also taken part in the First Drawing Triennial of the Joan Miró Foundation in Barcelona and in the group exhibition entitled "Latin American Artists of the Twentieth Century", which toured museums such as the Centre Pompidou in Paris, the Kunsthalle in Cologne and the MOMA in New York. Works by Ray Smith are currently held in outstanding collections such as the MNCARS in Madrid, the Whitney Museum of American Art in New York, the Museo de Arte Contemporáneo de Monterrey and others.

Stima 6 000 - 7 000 EUR

Lotto 29 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Bombollín y globulín". 2005. Oil on canvas. Signed and dated in the lower corner, titled on the back. Measurements: 130 x 162 cm; 133,5 x 165,5 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.

Stima 2 000 - 2 500 EUR

Lotto 30 - EVA LOOTZ (Vienna, 1940). "The frozen boats", 1990. Painted wood (structure) and wax (feet). Provenance: Luis Adelantado Gallery. Measurements: 230 x 170 cm. "The frozen boats" was a project of Eva Lootz that consisted of the placement of boats rescued from some port and other objects (like the structure that in bidding) with a careful staging. The allusion to the cold was achieved by the Viennese artist through the use of white kerosene, which covered the surfaces of the installation like snow. This, together with the wax used in our structure, are apparently materials without great material value, but with a great symbolic charge for Lootz. The boats of this project are part of the permanent collection of the MEIAC (Museo Extremeño e Iberoamericano de Arte Contemporáneo) since 1995. A Viennese artist who has lived in Madrid since 1965, Eva Lootz was trained in her native city, where she studied Fine Arts, Musicology, Cinematography and Philosophy. Although she is mainly known for her sculptural work, Lootz also works in installation, drawing, printmaking, photography, video and sound, always focusing on her main concern: the relationship between matter and language. She began her exhibition activity in 1973, and since then she has held regular solo exhibitions both in Spain and abroad, in galleries and art centers such as the Galleriet in Lund (Sweden, 1981), the David Breitzel in New York (1990), the Barbara Faber of Amsterdam (1990, 1994, 1996), the South London of London (1994), the Fundación Pilar i Joan Miró of Palma (1996), the Luis Adelantado of Valencia (1997), the Borås Konstmuseum (Sweden, 1997) or the Museo Nacional Centro de Arte Reina Sofía in Madrid (2002). She has also participated in competitions, collective and official exhibitions such as the Expo'92 in Seville, and in 1994 she was awarded the National Prize of Fine Arts. She is currently represented in the MACBA in Barcelona, the MNCARS in Madrid, the Museum of Abstract Art in Cuenca, the Museum of Contemporary Art in Malmö, the CAAM in Las Palmas, the Patio Herreriano Museum in Valladolid and many other public and private collections. Provenance: Luis Adelantado Gallery.

Stima 14 000 - 16 000 EUR

Lotto 31 - MANUEL FRANQUELO-GINER (Madrid, 1990). "Baby calf", 2017. Reticulated foam filled with wadding, hand-sewn plush lining and polished polyester eyes. Measurements: 200 x 80 x 80 cm. Manuel Franquelo Giner denounces from different disciplines the accelerated pace of industrial manufacturing, as well as food waste and the present monumental production of animals. Sustainability in all aspects is undoubtedly the leitmotiv in his production. In "Baby calf" Franquelo reflects on the oppression of animals by depicting a stuffed calf whose throat is slit in the slaughterhouse and from whose belly its entrails hang. The colourful viscera add a certain naïve touch to the crudeness of the image. Manuel Franquelo-Giner lives and works in Madrid. He studied? He studied Fine Arts at the UCM and currently collaborates with Factum Arte. He has participated in national and international contemporary art fairs such as ARCO, Estampa, Photobasel, ArtLima or Forosur, as well as in different exhibitions in public institutions such as the CSIC, Conde Duque and the Centro de Arte Alcobendas in Madrid, or the Centre del Carme in Valencia. His work is present in various national and international private collections such as DKV, Kells, Pilar Citoler and Josep Mari?a Civit, among others. He is also represented in national museums and contemporary art centres, such as the CAC in Ma?laga and the Centro de Arte Alcobendas in Madrid. He has been awarded grants such as the VII Encontro de Artistas Novos organised by Rafael Doctor and has collaborated with critics, curators and philosophers to write essays in relation to his artistic work.

Stima 18 000 - 20 000 EUR

Lotto 32 - JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). Untitled, 1956. Oil on paper adhered to board. Signed, dated and dedicated in the upper left corner. Measurements: 50 x 64 cm; 81 x 97 cm (frame). This oil on paper belongs to an early stage of the artist in which he was interested in formal simplification, influenced by both avant-garde expressionism and Romanesque art. Joan Hernández Pijuan began his training in Barcelona, attending the La Lonja and Sant Jordi Schools of Fine Arts, before completing his studies at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among Spanish artists of recent decades. The strength of his creative individuality places him on the fringes of the successive dominant trends and fashions, but does not prevent us from recognising in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practising a tragic expressionism with a strong social charge, and at this time he formed, together with the other members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting geometric figuration, a style he left behind in the following decade to focus on informalism. In fact, interest in and fascination with this painter's career continues to be as strong as ever, and he is the subject of new exhibitions and public displays of his work. During his lifetime he had solo exhibitions in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 he was the subject of a major retrospective exhibition at the MACBA in Barcelona, which was subsequently shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museo de Arte Abstracto Español in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed a member of the Real Academia de San Fernando in Madrid. In 1981 he received the Premio Nacional de Artes Plásticas, in 1985 the Cruz de Sant Jordi and, in 2004, the City of Barcelona Prize. He was also awarded the Prize of the Directorate General of Fine Arts at the National Exhibition in Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Ljubljana Biennial of Engraving (1965), the International Biennial of Engraving in Krakow (1966) and the "Vijesnik u Srijedu" editorial prize in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centres such as the Guggenheim Museum in New York, the Liaunig (Austria), the Helsinki Museum of Contemporary Art in Helsinki, the Helsinki Museum of Fine Arts in Finland, the Helsinki Museum of Contemporary Art in Finland, the Helsinki Museum of Fine Arts in Finland and the Helsinki Museum of Contemporary Art in Finland, those of Contemporary Art in Helsinki and Luxembourg, the Kulturstiftung in Bad Homburg (Austria), the Yamaguchi Gallery in Osaka (Japan), the Palace of Fine Arts in Brussels, the National Gallery in Montreal, the Museum of Modern Art in Buenos Aires and the Sztuki Museum in Lodz (Poland).

Stima 5 000 - 6 000 EUR

Lotto 33 - 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.

Stima 2 500 - 3 000 EUR

Lotto 34 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1977. Oil and collage on uralite. Signed and dated on the lower left. Measurements: 105 x 114 x 9 cm. Josep Guinovart was a born experimenter with forms, textures, supports and languages. This is evident in this composition in which the play of waves in the material is used by the artist to emphasise the effect of collage and fragmentary figures (a head, the wounded body of a bull...) The forms seem to compose and decompose themselves between blinks of an eye, in an orchestrated composition that appeals to the surrounding space. Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to 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, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, clay, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). Guinovart's artistic output is very varied: mural paintings, theatre sets and scenographies, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He took part in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona in 1981, the National Plastic Arts Prize in 1990 and the Generalitat's Plastic Arts Prize in 1990. In 1994 the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Open Air 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.

Stima 4 000 - 5 000 EUR

Lotto 35 - MOISÉS VILLÈLIA (Barcelona, 1928 - 1994). Untitled. Polychrome bamboo cane. Measurements: 86 x 65 x 20 cm. Moisés Sanmarón Puig, whose artistic name was Villèlia, was a sculptor linked to the abstract movement, who initially identified with the artistic concerns of the Dau al Set group. He learned wood carving in the workshop of his father, a renowned craftsman, and during his childhood he received a rationalist education, which was interrupted by the outbreak of the Civil War. After the war, his family moved from Barcelona to Mataró. He exhibited his work for the first time in 1949 at the Museum of Mataró. Four years later, after working with his father on the woodwork for the chapel of Santa Ana in the city, he decided to devote himself fully to sculpture. With a scholarship from the Institut Français in Barcelona, he moved to Paris in 1967. In the French capital he worked with perforated paper as the main material for his works. Two years later he went to Argentina, where his brother, also a sculptor, lived, and finally settled in Quito, where he remained until 1972. On returning to Spain, he moved to the village of Molló, in Girona, where he devoted himself to making surrealist sculptures in which he used willow wood and assemblages of objects, giving his works from this period a certain sense of humour. He died in 1994, and in 1999 the IVAM in Valencia devoted an extensive retrospective exhibition to him. He is currently represented at the MACBA in Barcelona, the Museo Nacional Centro de Arte Reina Sofía and the Museo de Arte Contemporáneo Patio Herreriano in Valladolid.

Stima 2 600 - 3 400 EUR

Lotto 36 - ANTONIO ROJAS (Tarifa, 1962). "Approach", 2019. Acrylic on canvas. Enclosed certificate at the buyer's request. Work reproduced in; "Punto de Mira, Antonio Rojas". Ed. Port Authority of Santander p.35. Signed and dated in the lower right corner. Signed, dated and titled on the back. Measurements: 48,5 x 170 cm. Antonio rojas lives in Madrid, although his native land is very present in most of his works. This warm memory is united with an aesthetic of character, colder and more rigorous based on geometry, lines and planes. The coexistence of these two factors relates his work to the new "metaphysical painting". Among the devotions of Antonio Rojas are key names in painting such as Guillermo Pérez Villalta, Chema Cobo and Carlos Alcolea, artists who initially influenced him with their different attitudes. Also artists as essential as Giotto, Piero della Francesca or Fra Angelico as well as Cezànne and De Chirico. In the artist's own words, "I am interested in geometry insofar as it is useful to me for structuring and organising. ...For me the contours of empty, monochromatic surfaces are important, only altered by the stamping of a systematic sea... As for the composition of the images "I am not interested in the use of any particular rule to distribute and provide spaces..., intuition is for me the best formula". Attentive to the creation of empty spaces, places in shadow, "the nearby walls, furniture, windows... All these smooth surfaces, velvety with the reflection of the colours of distant objects, always full of air, shadow and light, are important to me". He had his first individual exhibition with Magda Bellotti in Algeciras (1983 and 1986), a gallery to which he was a regular during the subsequent development of his entire career. In Madrid he began to exhibit in the Fernando Vijandre gallery in 1987, in Manolo Montenegro's gallery (1988), with Antonio Machón (in 1990 until 2000) and with My name's Lolita Art (Valencia, 1996, and Madrid, 2002). In 1994 he was selected for the exhibition "Muelle de Levante". In 1991 he took part in the collective exhibition "El Retorno del Hijo Prodigo" at the Buades Gallery in Madrid and was awarded the Endesa Scholarship. He also obtained residencies at the Delfina Studios in London and at the Academy of Fine Arts in Rome between 1993-94 and in 2004 he won first prize at the VI Biennial of Painting "City of Estella Lizarra".

Stima 1 800 - 2 000 EUR

Lotto 37 - DAMIEN HIRST (Bristol, UK, 1965) for Supreme, New York. From the "Spot" series. Screen-printed wood. Printed signature. Limited edition of 500 copies. Light marks of use. Measurements: 79 × 20 cm. Damien Hirst and Supreme have collaborated on several occasions, most notably the release of skateboard decks in 2009. The Spot Paintings are one of Hirst's most celebrated series. In it, through a nod to minimalism and the abstract tradition, he reflects on pharmaceutical companies and their promises of miracle cures. Damien Hirst was born in Bristol on June 7, 1965, in a suburban environment with economic problems. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspicious; wrapped in an aura of romanticism, he made revolutionizing the art world seem simple. On several occasions he has acknowledged his desire to be famous and in the face of criticism he has defended himself with phrases such as "they could not admit to themselves that they wanted to be famous and resented not being famous" or "I think my desire was to be more famous than rich, I think the desire to create art and be famous is like the desire to live forever two obsessions: death and celebrity". Damien Hirst has works in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other important public and private collections. Slight marks of use

Stima 1 800 - 2 000 EUR

Lotto 38 - HAROSHI (Tokyo, 1978) for Real Skateboards. "Middle jinger" 2013. Silkscreen on Canadian wood, issue 44/400. Skateboard. Edition limited to 400 copies. Numbered. With artist's stamp. Measurements: 82 x 21 cm. In his singular work, the Japanese artist Haroshi combines his two great passions: skateboarding and sculpture. His is a unique art, the result of carving the wood of recycled skateboards and with which he reproduces anatomical fragments also arranged on skateboard surfaces. He has been doing it for almost two decades, enjoying a great international acclaim. He has exhibited his sculptural skateboards all over the world, in galleries in London, New York, Tokyo, Berlin and Paris, among others. By representing body parts on skateboards in sculpture, he intends to pay tribute to the daring of skateboarders, who practice a risky sport, risking their physique with all kinds of pirouettes.

Stima 1 400 - 1 600 EUR

Lotto 39 - YOSHITOMO NARA (Japan, 1959) for MOMA, New York. "Welcome girl," 2017. Screenprint on Canadian wood. Skateboard. Printed signature. Limited edition, unnumbered. Sold out (sold out). Measurements: 78,9 x 20 cm. This skateboard reproduces the painting "Welcome Girl" (2017) by Japanese artist Yoshitomo Nara. The piece, a limited edition, was produced by MOMA, the quintessential institution of international contemporary art,in whose collection Nara is represented. The skateboard was made in Canada from 7-ply maple wood. Yoshitomo has become a cult artist, and his works are sought after by the most prestigious galleries. The secret of his popularity seems to lie in the fact that he amalgamates coldness and tenderness, violence and innocence, perversity and naïff aesthetics. He drinks from multiple languages: graffiti, anime, punk art, comics... He currently lives in Tokyo and has exhibited in many parts of the world. He graduated in Fine Arts at the University of Aichi in 1985, obtaining a master's degree at the same university after two years. Between 1988 and 1993 he studied at the Kunstakademie in Düsseldorf. Nara emerged from the Japanese pop art movement of the 1990s. His works are at the same time bellicose and simple. In them he even depicts children or animals with weapons and an inquisitive gaze, but for Nara his creations are not aggressive at all. Nara was educated after World War II and is the spokesman for a generation that takes refuge behind naïve or kawaii aesthetics to demonstrate its disagreement with traditional Japanese society.

Stima 800 - 1 000 EUR

Lotto 40 - TAKASHI MURAKAMI (Tokyo, 1962) for Complex Con. "Flying Dob." 2018. Silkscreen print on maple wood. Set of three skateboards. Measurements: 80 x 21 cm. each. Mr, Dob, Murakami's iconic character inspired by anime aesthetics, appears silkscreened preserving his original intense chromaticism on the triptych of skates produced by Complex Con. Murakami is one of the most influential artists of the Japanese post-war generation, Takashi Murakami was educated at the National University of Fine Arts and Music in Tokyo, where he graduated with a degree in Nihonga (traditional Japanese painting). In 1990 he was introduced to contemporary art by his partner and friend Masato Nakamura, and in 1993 he created his alter ego Mr. DOB. He then began to be recognized inside and outside Japan for his particular synthesis between traditional Japanese art, the contemporary currents of his country (anime, manga...) and American culture, mainly the pop current. In his work, Murakami conveys a critical vision of current Japanese society, the legacy of the country's cultural tradition, its evolution after World War II and its relationship with the Western world, especially with the United States. In his writings he coined the term "Superflat" to define his personal artistic style, a term that fits a work characterized by two-dimensionality and that also criticizes the very structure of art, blurring the boundaries between high and low culture. In fact, his output spans multiple art forms, from painting and sculpture to industrial design, anime, fashion and other popular culture media and merchandising objects. His trilogy of exhibitions "Superflat" (2000, 2002 and 2005) has been shown in important art centers around the world, such as the Parco Gallery in Tokyo, the MOCA in Los Angeles, the Fondation Cartier in Paris or the Serpentine Gallery in London. Also, between 2008 and 2009, retrospective exhibitions were held at MOCA, the Brooklyn Museum in New York, the Museum für Moderne Kunst in Frankfurt and the Guggenheim in Bilbao. Murakami is currently represented in major museums around the world, including MoMA in New York, the Museum of Fine Arts in Boston and many others.

Stima 2 500 - 3 000 EUR

Lotto 41 - KEITH HARING (Pennsylvania, 1958- New York, 1990) for New York City Skateboards, Inc. Silkscreen on wood, 1986. Skateboard. Original Pop Shop. Very exclusive specimen. It presents marks of use. Measurements: 76 x 26 cm. This is an original piece authorized by Keith Haring in 1986, not a later reproduction, as attested by the New York City Skateboards, Inc. logo. The Pop Shop opened its doors in 1986 at 292 Lafayette Street in the Soho neighborhood of Manhattan, New York. Haring saw the Pop Shop as an extension of his work, a fun boutique where his art could be available to everyone. The store sold T-shirts and novelty items with images of Keith and some of his contemporaries, such as Kenny Scharf and Jean Michel Basquiat. Later, in 1987, Haring opened a Pop Shop in Tokyo. Haring painted the interior walls of both stores, creating an immersive experience in his aesthetic. The Tokyo Pop Shop closed in 1988 and the New York Pop Shop closed in September 2005. In 2006, the exhibition Keith Haring: Art and Commerce examined the context and history of the Pop Shop, and in 2009, as part of the group exhibition Pop Life, the Tate Modern reconstructed aspects of the New York Pop Shop to recreate the feel of the original. The original Pop Shop ceiling was donated to the New-York Historical Society and is installed at its entrance. Considered the figurehead of 1980s street art, Haring's unstoppable professional career, which led him to become a Warhol colleague and media superstar, began with his work in the New York subway. The enormous popularity of Haring's urban work among the people of New York immediately caught the attention of the art establishment. Consequently, Andy Warhol adopted him into his circle, and the then emerging gallerist Tony Shafrazi organized a resounding solo exhibition for him in 1982 that was to be the launching pad for his unstoppable success. He soon exhibited his work at the gallery of the influential Leo Castelli and established himself as a professional art star. Keith Haring was an American artist whose pop art and graffiti emerged from the street culture of New York City in the 1980s. Haring's work grew in popularity thanks to his spontaneous drawings on the New York City subway in chalk on black and white advertising space backgrounds. After achieving public recognition, he created large-scale works as murals.His later work often addressed political and social issues, especially homosexuality and AIDS, through his own iconography. Today Haring's work is divided between major private and public collections, including the Museum of Modern Art and the Whitney Museum of American Art in New York City; Los Angeles County Museum of Art; the Art Institute of Chicago; the Bass Museum in Miami; Musée d'Art Moderne de la Ville de Paris; the Ludwig Museum in Cologne; and the Stedelijk Museum in Amsterdam. He also created a wide variety of public works, including the infirmary at Children's Village in Dobbs Ferry, New Yorkand the second-floor men's room at Lesbian, Gay, Bisexual & Transgender Community Center in Manhattan, which was later transformed into an office and is known as the Keith Haring Room. In January 2019, an exhibit called "Keith Haring New York" opened at New York Law School in the main building of its Tribeca campus. It presents marks of use.

Stima 30 000 - 35 000 EUR

Lotto 42 - ALEXANDER CALDER (United States, 1898 - 1976). "Gaspar Hall (avant la lettre)". Lithograph, copy P/A. Signed and justified by hand. Work published in the catalog "Obra gráfica", fig. 1 (Barcelona; Sala Gaspar, 1975). Attached certificate from Sala Gaspar. Measurements: 65.5 x 50.5 cm; 95 x 82 cm (frame). Calder was formed in the Art Students League of New York, and in 1926 he realizes his first exhibition of painting, in the New York The Artist's Gallery. Before the end of the year he began his trip to Europe, which allowed him to meet the great figures of the time, such as Miró, Duchamp and Mondrian. Calder is one of the most renowned artists of the 20th century, with works in all the great collections of the world. From the MoMA in New York, where one of his sculptures decorates the main staircase, to the UNESCO headquarters in Paris. Other centers where he is represented are the Guggenheim Museum in New York, the Peggy Guggenheim Collection in Venice, the Städel in Frankfurt, the Kunstmuseum in Basel, the Reina Sofía in Madrid and the Tate Gallery in London.

Stima 1 600 - 2 000 EUR

Lotto 43 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Roi, je t'attends à Babylone", 1973. Drypoint engraving on paper. Issue 67 and 145 of 150. With signature on the cover by Salvador Dalí and André Marlaux. Published by Albert Skira in Geneva in 1973. Size: 62,5 x 44,55 cm. Salvador Dalí's portfolio , "Roy, je t'attends a Babylone" consists entirely of twelve drypoints. The book was published in 1973 and the writer André Malraux wrote the text. Dalí signed the justification page in pencil. Albert Skira, Geneva, published the book. The work that concerns us is loose as issued. Painter and sculptor, Salvador Dalí was one of the leading exponents of the surrealist movement. His work greatly influenced the course of surrealism during the twenties and thirties, being acclaimed as the creator of the paranoiac-critical method, an essential combination of the real with the imaginary. Most of his production is gathered in the Dalí Theater-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London.

Stima 1 600 - 1 800 EUR

Lotto 44 - CARLES FONTSERÉ (Barcelona, 1916 - 2007). Republican poster sketch. 1938 Oil on paper. Signed and dated in the lower corner. The paper has very slight tears on the edges that do not affect the drawing. Measurements: 30 x 27 cm. Fontseré was only 20 years old when the war broke out, his youth was not an obstacle for his works to stand out for their strength and expressiveness. He was one of the promoters of the Union of Professional Draughtsmen of Barcelona. Enlisted in the BB.II. he fought in the Ebro. His republican posters are an unavoidable contribution to avant-garde poster art, which draws from constructivist and suprematist sources. Fontseré was a multidisciplinary artist, he began his professional career as a draftsman at the age of fifteen, and by the age of twenty he was already a renowned poster artist. He became one of the greatest visual references of anarchism. After the Spanish Civil War he went into exile in Paris, the city that gave him his cultural varnish, and where he developed other disciplines in an outstanding way, such as engraving or theatrical scenography. This last task led him to work in cities such as Mexico City, London, Rome or New York, and it was from these trips when he began the photographic impulse, which he never stopped, portraying, through the camera, the face of a changing world that in the 60s was in full effervescence, and immortalized the routine and character of these metropolises from the most extraordinary corners of its human geography. Carles Fontseré published his memoirs in 1995 in Spain. The paper has very slight tears at the edges that do not affect the drawing.

Stima 3 500 - 4 000 EUR

Lotto 45 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, ca. 1980's. Mixed media (painting and collage) on paper. Measurements: 226 x 116 cm; 236 x 126 cm (frame). The painting in question probably dates from the eighties, a particularly experimental period in Guinovart's production. The use of collage and poetic abstraction is characteristic of this period, as well as the preference for sienna, brown and brown tones. It includes subtle synthetic strokes that seem to pay homage to Picasso's post-cubist creatures and, at the same time, the composition (which leaves the upper part empty) indirectly refers to Goya's buried dog. 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. 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.

Stima 5 500 - 6 500 EUR

Lotto 46 - LUIS SEOANE LÓPEZ (Buenos Aires, 1910 - A Coruña, 1979). "Still life". 1969. Oil on canvas. Signed and dated in the lower margin. Provenance: José María Moreno Galván collection. Measurements: 30 x 40 cm; 33 x 43 cm (frame). Scene of interior in which the artist arranges a recurrent subject in the history of art as it is the still life. However, he exposes this genre from a modern point of view where the artist plays with the juxtaposition of elemental forms and a range of saturated colors applied in planes that are diluted and independent of objects and realism. A draftsman, painter, engraver and writer, Luis Seoane was educated in A Coruña, where he worked as a lawyer and was a member of the Partigo Galeguista, and in 1936 he settled in Buenos Aires. In his youth he participated in the political and cultural activity of the students of A Coruña and, according to the historian and journalist Carlos Fernández Santander, Seoane could be the author who, under the pseudonym of Hernán Quijano, wrote "Galicia Mártir. Episodes of the white terror in the Galician provinces", a book published in Paris and Argentina in 1938. In 1932 he graduated in Law and Social Sciences in Santiago de Compostela, and during these years he began his career in various fields. Thus, between 1927 and 1933 he militated in republican and autonomist left-wing parties, illustrated books and magazines and held his first exhibitions. In 1934 he returned to A Coruña from Santiago and began to work as a lawyer, while sharing gatherings with Huici, Cebreiro, Fernández Mazas, Del Valle, Julio J. Casal, Francisco Miguel and others. That same year he joined the Partido Galeguista. Two years later he took part in the campaign for the Statute of Autonomy, but when the war broke out he was forced to flee to the Argentine capital. Once settled in Buenos Aires, he kept in touch with other compatriots exiled from Franco's regime, among them the painter Leopoldo Nóvoa and the activist María Miramontes. In 1937 he published his first book there, "Trece estampas de la traición". Three years later he founded the collections "Hórreo" and "Dorna" in EMECÉ Editores, and in 1943 he created the magazine "Correo Literario" and Editorial Nova. Two years later, his "Homenaje a la Torre de Hércules" (Homage to the Tower of Hercules) was awarded in New York. In 1948 he founded the publishing house Botella al Mar, and the following year he made a trip to Europe and exhibited in London. Between 1952 and 1962 he exhibited in New York, founded the magazine "Galicia Emigrante" and the publishing house Citania, and was awarded prizes such as the medal of the Universal Exhibition of Brussels, the medal of the Senate of the Argentine Nation (1958) or the Palanza Prize (1962). At the same time, he worked for the Buenos Aires gallery Gordons, directed by Roberto Mackintosh, an expert and connoisseur of his work. In the last decades of his life he alternated his residence in America with trips to Galicia, and in 1977 the first complete edition of his poetic work was published. Between 1963 and 1979 he held exhibitions in Spain, Germany, Italy, Switzerland, Brazil and other countries. In 1994 the Day of the Galician Letters was dedicated to him, and in 2003 the Galician Center of Contemporary Art, in Santiago de Compostela, dedicated an important retrospective exhibition to him, which was later taken to the Museum of Modern Art in Buenos Aires. He is currently represented in the Caixanova Collection, among many others.

Stima 4 000 - 5 000 EUR

Lotto 47 - SONIA MENNA BARRETO (Sao Paulo, Brazil, 1953). "Balloon", 2023. Polychrome bronze. Exemplary 2/50. Certificate of authenticity attached. Signed and justified. Measurements: 21 x 18 cm; 5 x 17 x 7 cm (boat). This sculpture is presented by the artist as a naive game, since a boat hangs from a balloon. Despite its fun and candid appearance, the work awakens deeper values related to childhood, innocence and weightlessness. In his works he defines a space populated by a multitude of anthropo- and zoomorphic figures, surrounded by everyday objects, without respecting even the most basic principles of perspective. The result is ideo-universes that engulf the viewer. In 1980, Sônia Menna Barreto began to attend the studio of the artist Luiz Portinari, brother of Cândido Portinari, at the Cândido Portinari Arts Center. During this period, she got to know the artistic life. After coming into contact with the works of Max Ernst, De Chirico, Magritte and Paul Delvaux, Sonia's work took the direction of surrealism. This phase was decisive for her career, beginning to develop her intimate and creative side, solving technical and thematic problems on her own without the supervision of teachers. In October 2002, for the first time a Brazilian work became part of the Royal Collection, belonging to the British Royal Family.

Stima 1 600 - 1 800 EUR

Lotto 48 - ROBERT INDIANA (Indiana, USA, 1928 - Maine, USA, 2018). "Love Blue." Painted polystone, specimen 308/500. Attached certificate of authenticity and original box. Measurements: 15 x 15 cm. The LOVE series is a collection of sculptures created by American artist Robert Indiana. The first LOVE sculpture was created in 1970, but its origin dates back to six years earlier, when the Museum of Modern Art in New York commissioned Indiana to create a Christmas card. For these holiday prints, Indiana produced the famous design we know to this day: the letters L, O, V and E in a serif type and stacked on top of each other. The original LOVE sculpture-now housed at the Indianapolis Museum of Art-was an instant hit when it was unveiled in 1970. Over the course of several decades, Indiana would create more than 50 editions of the sculpture for locations around the world, from New York City and Philadelphia to Singapore and Taipei. Robert Indiana was an American costume designer, painter, sculptor and stamp designer associated with the Pop Art movement. Indiana has also worked designing sets and costumes for theatrical works. His works employ symbols and words from everyday life painted in the vivid colors of pop art, and depict American culture and life in an ironic manner, often containing political criticisms of American society. Certificate of authenticity and original box enclosed.

Stima 900 - 1 000 EUR

Lotto 49 - ANKE BLAUE (Schleswig, Germany, 1967). Untitled, 2004. Canvas collage on canvas. Signed and dated on the back. With Artur Ramon Gallery label on the back. Measurements: 97 x 130 cm. Trained in Germany and Carrara (Italy), Anke Blaue soon began her studies with Philip Pavia, an important representative of New York abstract expressionism. She lived in Italy from 1985 to 1988, and then returned to her native Germany to study at the Academy of Fine Arts in Düsseldorf. He continued his studies with Bruno Fonseca (Torres-García School of Universal Constructivism) in Barcelona, where he moved to. Throughout his career as an artist he has exhibited his work in Spain (where he has had solo exhibitions at the Pigment Gallery, the Mariita Segovia Gallery and Artur Ramon, among others), Germany, USA, Switzerland and France. He currently lives and works in Germany.

Stima 1 400 - 1 500 EUR

Lotto 50 - "BON"; ROMÁN BONET SINTES (Barcelona, 1886 - 1967). "Dreamlike vision" c.1930. Mixed media on paper. Signed in the lower left corner. Measurements: 33 x 24 cm; 8 x 49 cm (frame). Painter, sculptor and above all cartoonist, since his early youth Bon collaborated with many Catalan magazines, among which are "Talía", "En Patufet", "Papitu", "L'Esquella de la Torratxa" and "Empori". He made his first important exhibitions during the second decade of the century, and in the twenties he devoted himself mainly to poster design, being awarded a gold medal in this discipline at the Universal Exhibition of Decorative Arts in Paris in 1925, and the gold medal in the poster competition of the International Exhibition of Barcelona in 1929. Between 1927 and 1929 he lived in New York, where he also held several successful exhibitions, collaborated with publications such as the "Herald Tribune", "Times" and "Morning Post", and was awarded a prize at the exhibition of The National Club.

Stima 800 - 1 000 EUR

Lotto 51 - JOSEPH MARIONI (Cincinnati, Ohio, 1943). "Yellow painting. 2001. Acrylic on canvas. Signed, titled and dated on the back. Size: 107 x 102 cm. From the seventies onwards, Joseph Marioni began an aesthetic exploration of the limits of painting. In monochrome paintings such as this one, there is a special tension between colour, light and support: Marioni repeatedly applies layers of satin colour on the painting in such a way that, depending on the incidence of light and the viewer's position, they reveal the underlying layers of colour. The painting of the American painter Joseph Marioni falls within the sphere of influence of the New York Radical Painting group, with which he shares above all the research into the parameters of painting. Joseph Marioni's works, created in a characteristic manner since 1970, combine to form a conceptual oeuvre with a resounding aesthetic that allows us to ask fundamental questions about the genre of painting. Marioni has participated in numerous solo and group exhibitions in the United States and Europe. His works are represented in major private and public collections, including the Whitney Museum of American Art in New York, the San Francisco Museum of Art, the Kolumba (Museum) in Cologne, the Kunstmuseum Wolfsburg, the Kunstmuseum Basel and the Kunstmuseum St. Joseph Marioni lives and works in New York. Solo exhibitions (selection): 2006: Peter Blum Chelsea, New York, USA 2007: Liquid Light, Wade Wilson Art, Houston, USA 2007: University Art Gallery, University of Massachusetts, New Bedford, USA 2008: Liquid Light, McNay Art Museum, San Antonio, USA. 2008: Drawing Color - between Black and White, Mark Müller Gallery, Zurich, Switzerland 2009: Beneath the Seen, Wade Wilson Art, Houston, USA 2010: Baronian-Francey, Brussels, Belgium 2011: 90 Years of New: Joseph Marioni, The Phillips Collection, Washington, USA 2012: Painting, Hengesbach Gallery, Berlin, Germany 2013: Marioni/MacPherson, UQ Art Museum, St Lucia, Queensland, Australia

Stima 35 000 - 40 000 EUR

Lotto 52 - VICTOR MIRA (Zaragoza, 1949 - Munich, 2003). "Still life". 1986 Oil on canvas Signed in the lower right corner. Titled and dated on the back. Certificate of authenticity issued by Esther Romero Fajardo enclosed. Measurements: 100 x 81 cm. 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 gallery N'Art 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.

Stima 4 000 - 4 500 EUR

Lotto 53 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Madonna of Port Lligat", ca. 1969. Bronze sculpture, example A 289/300. Marble base. Signed and justified. Size: 21 x 7,5 x 7,5 cm. With this "Madonna", Dalí paid homage to Port Lligat. According to the catalogue "Dalí's Sculptures" (published by Diejasa): "For Salvador Dalí, who had been a tireless traveller, his Catalan land was always a refuge and an oracle, essential keys in the creation of his work. Facing the Mediterranean, his gods and Lares revealed to him a mysterious world, which in his mystical-metaphysical period, which began in the 1950s, became transcendent. Port Lligat is his fiefdom, the place of his phantasmagorias and where the Madonnas give him strength and stimulus to continue to realise what he discovers in the deformed, concave and convex mirrors of his cosmic-paranoid hallucinations. The perforated rocks of the Costa Brava are a constant image in Dalí's mineral figures. And the windows, the holes open to infinity, are orifices full of symbolism: the anguish of emptiness, which in this Madonna is ready to throw with her delicate hand, like Ceres, the beneficial seeds on the earth that Dalí has chosen. She is a virgin-goddess, pagan and pre-Christian. In his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to 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 in imitation of Velázquez's, which was to become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which depicted scenes typical of the surrealist imaginary. In August of the 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 Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he exhibited his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

Stima 2 000 - 2 500 EUR

Lotto 54 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). "Winged Triton", ca. 1972. Bronze sculpture on marble base, example A 289/300. Signed and justified at the bottom. Certificate of authenticity issued by Exmundart enclosed. Measurements: 22 x 11 x 11 cm. Dalí represented the marine god, son of Poseidon, gliding over the waters, dispensing with the company with which we are accustomed to seeing him in classical iconography (accompanied by horses and nereids, surrounded by dolphins and playing the conch shell with which he announced storms). Triton possessed the gift of prophecy, which is why he was often the guide of the great mythological heroes. Dalí, on the other hand, focused on the character's vulnerability, emphasising the sensation of instability produced by the waves on the hero's flesh. In his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who travelled regularly to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí travelled to Paris for the first time. There he met Picasso, and established certain formal characteristics that were to 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 in imitation of Velázquez's, which was to become his personal trademark for the rest of his life. In 1929, Dalí collaborated with Luis Buñuel in the making of "An Andalusian Dog", which depicted scenes typical of the surrealist imaginary. In August of the 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 Montparnasse district of Paris. His work greatly influenced the direction of Surrealism for the next two years, and he was acclaimed as the creator of the paranoiac-critical method, which was said to help access the subconscious by releasing creative artistic energies. The painter landed in America in 1934, thanks to the art dealer Julian Levy. Following his first solo exhibition in New York his international reputation was definitively consolidated, and from then on he showed his work and gave lectures all over the world. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.

Stima 2 000 - 2 500 EUR

Lotto 55 - EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). "San Juan de la Cruz". Artika, Chillida-Leku Museum, Planeta, 2007. Copy 714/988. With life-size reproductions of 32 drawings and gravitations of his graphic work. Iron case. Presents marks of use, wear and some lateral damage to the cover. Measurements: 39 x 31 x 4 cm (book); 50 x 39 x 18 cm (box). It is not surprising that the "Spiritual Canticle" by San Juan de la Cruz was one of Chillida's bedside books, given that philosophy, spirituality and mysticism fill his work. This volume brings together two of the Basque artist's great passions: the mystical poems of St. John of the Cross and art. An unrepeatable jewel that blends the two in perfect harmony, combining poetry with the reproduction of 32 drawings and gravitations by Chillida, accompanied by 16 handwritten, intimate and personal quotations on art and spirituality. Chillida trained in Madrid and Paris, and held his first exhibition in the French capital in 1950. Throughout his life he received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

Stima 2 200 - 2 500 EUR

Lotto 56 - NAM JUNE PAIK (Seoul, 1932 - Miami, 2006) Untitled, 1992, from the "Suite Olympic Centennial". Lithograph on 270 grams Velin d'Arches paper, copy 171/250. Signed and justified by hand. Measurements: 63 x 90 cm. The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Edited to commemorate the first centenary of modern Olympism, the chosen artists are defined by diverse pictorial movements and trends. Nam June Paik worked throughout his career as a music composer, but also as a video artist, painter and printmaker. He received his musical training at the University of Tokyo, where he also studied art history. He later traveled to Germany in the mid-1950s to study music theory in Munich, Cologne and Freiburg. He worked in the electronic music research laboratory of Radio Cologne, and participated in the artistic research groups Happening and Fluxus. In this and other lithographs he investigates the graphic possibilities from the serialization of elements close to the aesthetics of the video game and even the "emoticon".

Stima 1 200 - 1 500 EUR

Lotto 57 - LEOPOLDO NÓVOA GARCÍA (Pontevedra, 1919 - Paris, 2012) "Four reliefs". 1982. Oil on táblex. Signed and dated in the lower corner. Measurements: 71 x 53 cm; 94 x 75 cm (frame). In this work the author uses an abstract language based on irregular geometry. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. A painter and sculptor with a Galician mother and Uruguayan father, Leopoldo Nóvoa emigrated to Uruguay in 1938, where he became associated with Joaquín Torres García. Settled in Montevideo, where he founded the cultural magazine "Apex", he was also a great friend of Jorge Oteiza and, once settled in Buenos Aires (1948-1957), of Lucio Fontana, who had a notable influence on his work. He finally left America in 1965 to settle in Paris with Michel Tapié, who had been impressed by his mural in the Luis Tróccoli Stadium in Montevideo. In Paris he met Julio Cortázar, who wrote a story about his work. He also founded, together with other outstanding Uruguayan and Argentinean painters, the Espacio Latinoamericano. However, he did not hold his first exhibition until 1964. This took place at the gallery of Edouard Loeb, with whom he would collaborate for many years. His work, which ranges from drawing and painting to murals and pyrography, abstractly evokes his memories of Galicia, with a language that shows references to abstract expressionism and informalism. Nóvoa was awarded prizes such as the Castelao Medal (1993), the City of Pontevedra Prize (1997) and the Premio da Crítica Galicia (2002). He is currently represented in the Abanca and Caixanova collections, among others.

Stima 2 800 - 3 000 EUR

Lotto 58 - EUGENIO GRANELL (A Coruña, 1912 - Madrid, 2001). "Behind the sphinx", 1959. Oil on canvas. Signed in the lower margin, titled and dated on the back. Measurements: 51 x 76 cm; 64 x 88.5 cm (frame). This composition seems to evoke an underwater world of corals and metamorphic forms of all colors and textures. The title takes us into the allegorical plane. Granell resorts to surrealism and evocations of the tropical landscape (in the fifties he was exiled in the Caribbean and Latin America) to compose organic and suggestive abstractions that hide complex concepts related to the difficult political and personal moment he was living. During his stay in Guatemala, Granell absorbed influences from local cultures, which is reflected in his works through motifs and colors that evoke indigenous art and the exuberance of the landscapes. At the same time, the influence of Max Ernst's mossy landscapes, his enchanted forests and biomorphic forms suggesting a secret life can be appreciated. Painter, watercolorist, engraver and sculptor, Eugenio Fernández Granell spent his childhood in Santiago de Compostela, a city that will largely mark his plastic work. Initially inclined towards music, in 1928 he moved to Madrid to study violin at the Escuela Superior de Música. In the capital he frequented intellectual circles linked to Marxism, and finally joined the Partido Obrero de Unificación Marxista in 1935. At the outbreak of the civil war he joined the Republican army, and also directed "El combatiente rojo", the newspaper of his party. However, after the end of the war he was persecuted both by the new regime and by his communist comrades, because of his Trotskyist condition. He went into exile in France in 1939, and after passing through several concentration camps, he went to South America. He settles in the Dominican Republic, where he enters as first violin in the Symphony Orchestra. However, when Trujillo's dictatorship hardened, Fernández Granell left the country to settle in Guatemala, where he worked as a professor at the School of Plastic Arts. When the Guatemalan revolution broke out in 1950, he had to flee again for fear of Stalinist persecution, and this time he arrived with his family in Puerto Rico, where the painter would occupy the chair of Art History in the Faculty of Humanities. However, in spite of this continuous pilgrimage, Fernández Granell continued with his artistic work, holding exhibitions and publishing books of short stories and poetry. In 1956 he meets Marcel Duchamp, who flatters his plastic and poetic art and reinforces him in his surrealist activity. That same year he moved to New York, where he settled permanently. Professor of Spanish Literature at Brooklyn College in the city, at this stage he earned his doctorate in Sociology at the New School for Social Research, with the thesis "Picasso's Guernica. The end of a Spanish era" (1967). Fernández Granell will continue in New York until 1985, when after retiring he returns with his wife to Spain, settling in Madrid. Already widely recognized, he will be awarded outstanding prizes such as the Gold Medal of Fine Arts. Likewise, in 1995, the foundation that bears his name was established in Santiago de Compostela, and which today collects most of his plastic production.

Stima 12 000 - 16 000 EUR

Lotto 59 - 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.

Stima 8 000 - 10 000 EUR

Lotto 60 - NORMAN MAILER (New Jersey, 1923-New York, 2007) and BERT STERN (Brooklyn, 1929-Manhattan, 2013). "Marilyn Monroe." Taschen; Special Edition. 1907/1962 copy (+200 P.A). Preserves original box. Measurements: 49 x 40 cm. This book collects the photographs taken by Bert Stern of Marilyn Monroe in the session Last Sitting, which was one of the last in which the actress posed. The book is completed with the biography of Marilyn written by Norman Mailer in 1973. The last sitting is a collection of 2,571 photographs taken of Marilyn Monroe in 1962 at the Bel-Air Hotel in Los Angeles. This reportage was taken six months before her death and part of it was published in Vogue. The first edition of the book The Last Sitting was published in 1982 and in it Stern recounts the encounter in detail. Bert Stern began working as an art assistant to director Herschel Bramson. In 1951 he joined Mayfair magazine as art director and soon began collaborating with magazines such as Vogue, Squire, Look, Life, Glamour and Holiday. Among his works from that period is a 1959 portrait of Louis Armstrong taken for a Polaroid advertising campaign that was even considered too high quality for Polaroid. In the early seventies he closed his studio and moved to live in Spain until 1976. After his return to New York he dedicated himself to advertising photography and magazine collaborations. Among the famous women he has photographed are Audrey Hepburn, Elizabeth Taylor, Madonna, Kylie Minogue, Drew Barrymore, Shirley MacLaine, Claudia Cardinale, Jacqueline Bisset, Brigitte Bardot and Catherine Deneuve. He also worked for the film industry: Lolita in 1962, Appointment with a very special angel in 1987 or in American masters in 2006; as a director and producer in Jazz on a Summer's Day (with Aram Avakian) in 1958 or as the protagonist in Becoming Bert Stern in 2009. He died at his residence in Manhattan, on June 26, 2013, at the age of 83 without the causes of his death having been clarified. Original box preserved.

Stima 700 - 800 EUR

Lotto 61 - BETTINA RHEIMS (France, 1952) and SERGE BRAMLY (Tunisia, 1949). "Rose cést Paris," 2010. Taschen; Special Edition. Copy 758/1700 (+240 P.A). Attached poster, booklet, Eiffel Tower sculpture, mask, DVD and case. Original box preserved. Measurements: 37 x 42,5 x 9 cm (book); 41 x 30 x 5 cm (frame). The publisher Taschen describes this work as follows "An elegy to Paris with erotic overtones, this multimedia detective story by Bettina Rheims and Serge Bramly encompasses art, fashion, sex, fame and history. Presented as fetishes in a retro briefcase, this tale of magic and mystery includes a feature-length film, a booklet, a set of objects (or is it evidence?) and the exquisite volume of photographs itself. Includes poster, brochure, Eiffel Tower sculpture, mask, DVD and case. Original box preserved.

Stima 600 - 700 EUR

Lotto 62 - JAUME PITARCH (Barcelona, 1963). From the series "Parenthesis", 2007. Photograph, copy P.A. Signed and dated on the back. Measurements: 49 x 38 cm; 50 x 39,5 cm (frame). Jaume Pitarch, an artist currently based in Barcelona, trained in Fine Arts at the Chelsea College of Art and the Royal College of Art in London. His language is based on the decontextualization of man-made elements, which he dismantles and reconstructs in a completely different way, stripping them of their original meaning and value. Throughout his career as an artist, Jaume Pitarch has held numerous exhibitions nationally and internationally, highlighting: Àngels Barcelona (2013, 2009, 2004,1997); Galería Fúcares, Madrid (2013, 2008); Spencer Brownstone Gallery, New York (2013, 2009, 2006) or in Galerija Vartai, Lithuania, 2011. Likewise, his work has been selected for group exhibitions in international galleries and institutions. His work is part of public and private collections such as the MACBA collection, the Vila Casas Foundation, the La Caixa collection, Artium, the Bergé collection, the Patio Herreriano Museum or the collection of the Royal College of Art in London, among others. Pitarch states that his work "focuses on how productivity has affected our notion of time. Market, work, value or leisure are only complementary expressions of it. It seems that contemporary art practice, participation and consumption are time-based activities and therefore subject to a system of production." He continues "Part of my practice consists of rescuing and reorganizing objects, actions or simple episodes that belong to these contexts in order to provide them with a new reading outside the limits that scheduled or productive time determines. These objects, the reproduction of these actions and episodes should be read as critical and poetic devices that make possible a decelerated revision of reality".

Stima 700 - 900 EUR

Lotto 63 - "PEREJAUME"; BORRELL GUINART (Sant Pol de Mar, Barcelona, 1957). "El dibuix que sé fer dels dibuixos que se'n fan", 2020. Mixed media (collage, charcoal and oil) on paper. Signed. With label of the Joan Prats gallery in Barcelona. Measurements: 50 x 65 cm; 56 x 72 cm (frame). Painter, experimental artist and poet, Perejaume had a self-taught training, although influenced by artists such as Joan Brossa, with whom he will share a work halfway between painting and poetry. In 2005 he was awarded the National Prize for Visual Arts, granted by the Generalitat de Catalunya. The following year he was awarded the National Prize for Plastic Arts, from the Ministry of Culture. His work can be seen in the ARTIUM in Vitoria, the Centro de Arte Reina Sofía, the MACBA in Barcelona, the Museo Patio Herreriano in Valladolid, the Museum of Contemporary Art in Sydney, the Coca-Cola and Telefónica Foundations and the Chase Manhattan Bank Collection, the Caja Madrid Contemporary Art Collection, the European Central Bank in Frankfurt and the Deutsche Bank Collection, among other public and private institutions around the world.

Stima 1 400 - 1 800 EUR

Lotto 64 - JAVIER MARISCAL (Almazora, Castellón, 1950). Palo Alto, Barcelona. May 2006. Oil on canvas. Signed and dated in the right margin; signed, located and dated on the back. Provenance; Private collection Measurements: 180 x 160 cm. The mastery of Javier Mariscal to compose animated scenes, crowds lit 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 under the apparent chaos of spotlights, toasts, smiles, bodies and tables there is a compositional rigor that is the result 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.

Stima 7 000 - 8 000 EUR

Lotto 65 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Juggler", 1990. Oil on canvas. Dated, titled and signed on the back. Provenance; Private collection Measurements: 138 x 200 cm; 202 x 204 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.

Stima 2 000 - 2 500 EUR

Lotto 66 - JOAN GARCÍA RIPOLLÉS (Castellón, 1932) "Humanity". Polychrome fiberglass with metal base. Exemplary 8/8. Signed and numbered. Presents certificate of authenticity. Measurements: 220 x 130 x 150 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 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. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at the Museum of Contemporary Art in Barcelona in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York art dealer Leon Amiel, of the Larrouse Gallery, acquired all his work, something that was repeated on his trip to Japan. From that moment on, he began a brilliant 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 U.S. cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés defines himself as an "immature adult" and, above all, "carefree, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. 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 Museum of Contemporary Art in Barcelona. It presents certificate of authenticity.

Stima 16 000 - 18 000 EUR

Lotto 67 - JAVIER CODESAL (Sabiñánigo, Huesca, 1958) The missing feet#4, 2010. Color photography, ed. 1/3. Measurements: 76 x 110 cm; 80 x 114 cm (frame).

Stima 1 000 - 1 200 EUR

Lotto 68 - FRANCISCO VIDAL (Lisbon, 1978). "Time Run". 2009 Oil on canvas (diptych). Signed in the lower left corner. Signed and dated on the back. Provenance; Private collection Measurements: 134 x 308 cm; 138 x 312 cm (frame). Based on a still from the cult film "Pulp Fiction" by Tarantino, Francisco Vidal places the gangsters played by John Travolta and Samuel L. Jackson on a strident red background, and replaces one of the guns with a banana. An intense yellow stain spreads out, suggesting an explosion. It is a painting formed by two canvases, which results in an expanded scene impregnated with freshness and carefree. The painter Francisco Vidal lives between Luanda (Angola) and Lisbon (Porturgal). Graduated in Plastic Arts at Escola Superior de Artes e Design das Caldas da Rainha, he took an advanced course in Visual Arts at Escola de Artes Visuais Maumaus, in Lisbon. She lived for some time in the United States, obtaining a Master of Fine Arts degree at the School of Visual Arts at Columbia University, New York. She began exhibiting regularly in 2005. In 2014 he presented the painting project "Utopia Luanda Machine" at 56th Venice Biennale, in the Angolan Pavilion, curated by António Ole, and at Expo Milano, curated by Suzana Sousa. In 2016, the project "ESCOLA DE PAPEL" was presented in Luanda and, in 2017, in São Tomé. and Príncipe. Francisco Vidal's practice highlights ideas around work and international mobility. Recognized for his large pictorial installations, he draws powerful calligraphic lines on silkscreen canvases, in vivid colors and varied chromatic combinations. He also practices a figuration rooted in the language of comics. He has works in national collections, such as those of the EDP Foundation, Calouste Gulbenkian Foundation, Cachola Foundation, and international collections.

Stima 4 000 - 5 000 EUR

Lotto 69 - NOT VITAL (Sent, Switzerland, 1948). "Di & Not".2023. Portfolio of 10 aquatint etchings, copy P.A. VII/VII. VFO edition. Signed and justified by hand. Measurements: 40,5 x 40,5 cm. On the occasion of the 75th anniversary of the VFO Edition, the artist Not Vital created several folders under the title "DI & NOT". The set consists of ten filigree photogravures with elevations of works from the Scarch project series. Scarch, explains the artist, "is the name of an art form that bridges the gap between sculpture and architecture, usually monumental in format and designed for a specific purpose. Scarch is created when sculpture and architecture scratch each other". Not Vital is a Swiss multidisciplinary artist: graphic art, painting, sculpture and architecture. Not Vital came into contact with art through local art historian Max Huggler. From 1968 to 1969 he studied at the Centre universitaire expérimental de Vincennes in Paris. In 1974 he moved to New York, where he lived until 2012, apart from regular stays in Lucca (Italy), Agadez (Niger) and Sent. He met Willem de Kooning, with whom he worked as an assistant during his first years in the United States. He created his first three-dimensional works in the 1980s. Vital's works - of various techniques and genres - are exhibited in major museums and galleries, as well as in public spaces around the world. In his park Not dal mot in Sent, for example, Eselsbrücke, Turm der Stille and Eishaus, among others, are installed. The foundation (fundaziun Not Vital) in Ardez aims to return 17th- and 18th-century prints in particular to their place of origin as part of a retromanic library. The foundation also has an art collection with its own works and those of other artists. The Chur architect Men Duri Arquint remodeled the Planta de Wildenberg house for the foundation. In 2010, he participated in the competition to redesign the presbytery of St. Gallen Cathedral. He won the Art-et-Architecture competition with his sculpture No Problem for the Mobimo Tower skyscraper in Zurich, completed in 2011.

Stima 3 500 - 3 700 EUR

Lotto 70 - VICTÒRIA RABAL (Barcelona, 1958). "Evanescent". 2013. Paper pulp and pigments on handmade Japanese paper. Signed and dated. It carries a label of the gallery N2, Barcelona, on the back. Certificate attached. Measurements: 100 x 66 cm; 103 x 69 cm (frame). This work is part of a series of works on handmade paper that the artist Victoria Raval developed between 2013 and 2017. The artist was inspired by this quote from the Chinese thinker Zhuangzi: "between strength and softness the hand finds and the head responds. It is an ability that I cannot express in words." From it, she proposed how to put in dialogue visually, with a contemporary language, strength and softness, escape and capture. She has a degree in Fine Arts and Art History. Since 1985, she has been the director of the Molí Paperer Museum in Capellades. In 2008 she was appointed Master Craftswoman by the Generalitat de Catalunya. She has taught numerous paper workshops in Catalonia and around the world. 1982 Spanish Ministry of Culture grant for young artists. Founding member of IAPMA (International Association of Papermakers and Artists), Honorary Member of ACCA (Catalan Association of Art Critics). His work has been shown in galleries, museums, foundations and art fairs, national and international such as Art Paper Stockholm, Sweden (1985); International Biennale der Paper Kunst, Düren, Germany (1986); Gallery Ignacio de Lassaletta, Barcelona (2006); Gallery Paloma Mena, Madrid (2009); Gallery Françoise Paviot, Paris, France (2012); Palazzo Manganelli, Catania, Italy (2012); N2 Galeria, Barcelona; Fundación Pasaje 865, Buenos Aires, Argentina (2013); Museo Marítimo de Barcelona (2014); Art Museum of Guangzhu Academy of Fine Arts, China (2014); Broken Gallery, Toquio, Japan (2015); Galerie Die Shöne, Vienna, Austria (2016), and the Arteporto Biennale in Sakai, Japan (2016), among others.

Stima 2 800 - 3 000 EUR

Lotto 71 - VICTÒRIA RABAL (Barcelona, 1958). "Làctea". 2013. Paper pulp and pigments on handmade Japanese paper. Signed and dated. It carries a label of the gallery N2, Barcelona, on the back. Measurements: 100 x 66 cm; 103 x 69 cm (frame). This work is part of a series of works on handmade paper that the artist Victoria Raval developed between 2013 and 2017. The artist was inspired by this quote from the Chinese thinker Zhuangzi: "between strength and softness the hand finds and the head responds. It is an ability that I cannot express in words." From it, she proposed how to put in dialogue visually, with a contemporary language, strength and softness, escape and capture. She has a degree in Fine Arts and Art History. Since 1985, she has been the director of the Molí Paperer Museum in Capellades. In 2008 she was appointed Master Craftswoman by the Generalitat de Catalunya. She has taught numerous paper workshops in Catalonia and around the world. 1982 Spanish Ministry of Culture grant for young artists. Founding member of IAPMA (International Association of Papermakers and Artists), Honorary Member of ACCA (Catalan Association of Art Critics). His work has been shown in galleries, museums, foundations and art fairs, national and international such as Art Paper Stockholm, Sweden (1985); International Biennale der Paper Kunst, Düren, Germany (1986); Gallery Ignacio de Lassaletta, Barcelona (2006); Gallery Paloma Mena, Madrid (2009); Gallery Françoise Paviot, Paris, France (2012); Palazzo Manganelli, Catania, Italy (2012); N2 Galeria, Barcelona; Fundación Pasaje 865, Buenos Aires, Argentina (2013); Museo Marítimo de Barcelona (2014); Art Museum of Guangzhu Academy of Fine Arts, China (2014); Broken Gallery, Toquio, Japan (2015); Galerie Die Shöne, Vienna, Austria (2016), and the Arteporto Biennale in Sakai, Japan (2016), among others.

Stima 2 000 - 2 200 EUR

Lotto 72 - RAFAEL CANOGAR GÓMEZ (Toledo, 1935). "Big head", 1987. Etching on paper. Copy 7/25. Signed and numbered in pencil. Measurements: 98 x 80 cm (print), 121 x 103 cm (paper), 133 x 115 cm (frame). Disciple of Daniel Vázquez Díaz, Canogar was co-founder of the group "El Paso", and during the fifties he developed a fully informalist work, which derives during the sixties in a complex figuration more and more narrative. During his mature stage, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expresses through the mask, the head, the face, as a representation of the man who loses his individuality and becomes a plastic sign, as can be seen in the work we now present. His awards include the National Prize for Plastic Arts (1982), he is a member of the San Fernando Academy, and is represented in the most important modern art collections around the world, such as the Reina Sofia Museum, the MOMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburg, the Rufino Tamayo Museum in Mexico, and the Chicago Art Institute, among many others. The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centennial of modern Olympism. The chosen artists are defined by diverse pictorial movements and trends.

Stima 1 000 - 1 200 EUR

Lotto 73 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Homenatge a Paolo Uccello". 2005. Oil on canvas. Signed and dated in the lower corner, titled on the back. Provenance; Private collection Measurements: 130 x 162 cm; 133,5 x 165,5 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.

Stima 2 000 - 2 500 EUR

Lotto 74 - ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). "The priests of April", 1960-1972. Lithograph on paper. Copy 7/50. Publisher: Grupo 15, 1972 and made by Dimitri Papagueorguiu as part of the Boj collection, 1960. Slight discoloration of the paper on the outer perimeter and damage to the frame. Signed and justified in pencil. Measurements: 58 x 41 cm; 87 x 67 cm (frame). The series of the Cures of April was a project that Saura initiated together with the writer Antonio Perez in 1960. Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual 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 held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works. 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 the creation of 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 participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York. In 1963 the first retrospectives are dedicated to him, in the Stedelijk Museum of Eindhoven, the Rotterdamsche Kunstring and in 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 exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining 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. In 1968 he abandoned oil painting to devote himself exclusively to works on paper. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and 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. Slight discoloration of the paper on the outer perimeter and damage to the frame.

Stima 600 - 700 EUR

Lotto 75 - ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). "The priests of April", 1960-1972. Lithograph on paper. Copy 17/50. Publisher: Grupo 15, 1972 and made by Dimitri Papagueorguiu as part of the Boj collection, 1960. It has restorations in the middle left area, slight discoloration of the paper in the corners and damage to the frame. Signed and justified in pencil. Measurements: 58 x 41 cm; 87 x 67 cm (frame). The series of the Cures of April was a project that Saura initiated together with the writer Antonio Perez in 1960. Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual 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 held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works. 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 participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York. In 1963 the first retrospectives are dedicated to him, in the Stedelijk Museum of Eindhoven, the Rotterdamsche Kunstring and in 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 exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining 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. In 1968 he abandoned oil painting to devote himself exclusively to works on paper. In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and 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. It has restorations in the middle left area, slight discoloration of the paper in the corners and damage to the frame.

Stima 600 - 700 EUR

Lotto 76 - ALCEU RIBEIRO (Artigas, Uruguay, 1919 - Palma de Mallorca, 2013). "Figura", 1992. Assemblage in painted wood. Signed, titled and dated on the back. Measurements: 46.5 x 23.5 cm. Painter, sculptor and muralist, Alceu Ribeiro trained with Joaquín Torres-García starting in 1939, thanks to a scholarship that allowed him to settle with his brother, also an artist, in Montevideo. He studied with the master for ten years, until his death in 1949, and during his student years his work was already recognized with several prizes at the National Salon of Montevideo, in 1940, 1941, 1942, 1943 and 1945. The following year, in 1946, he became known in Paris through the Muestra de Pintura Moderna Uruguaya held there. In 1949 he founded the workshop El Molino, which he converted into the center of Montevideo's intelligentsia, and that same year he carried out his first commission for mural painting for the Palacio de la Luz in the Uruguayan capital. Shortly afterwards, in 1953, he held his first individual exhibition at the Faculty of Architecture of the same city. He also continued to participate in official exhibitions with great success, and carried out important mural projects, both pictorial and sculptural. In 1962 he becomes a professor at the Universidad del Trabajo in Montevideo, and the following year he makes a long working trip to Europe, where he leaves after holding several exhibitions on tour in South America, among other places at the Zea Museum in Medellin (Colombia). In 1964 he returns to Montevideo, and three years later he holds his first solo exhibition in the United States, at the Mayfair Gallery in Washington D.C. From then on Ribeiro exhibited his work in museums and galleries in South America, the United States and Europe, finally settling in 1979 in Palma de Mallorca. He is currently represented in the National Museum of Fine Arts and the Juan Manuel Blanes Museum in Montevideo, the Museum of Contemporary Art in Madrid, the National Museum of São Paulo and other public and private collections in Europe and America.

Stima 1 400 - 1 600 EUR

Lotto 77 - SONIA DELAUNAY (Odessa, 1885 - Paris, 1979). "Projet de tissu", ca.1920's. Gouache on paper. Provenance: Doyle auction, New York. Measurements: 42.5 x 31 cm; 57 x 46 cm (frame). Sonia Delaunay's "Tissu Project" was an innovative approach to textile design that integrated the principles of Orphic art into garments. The Tissue Project represents an avant-garde fusion of art and design. Sonia, along with Robert Delaunay, engendered Orphism, an artistic movement exploring the use of color and geometric-kinetic abstraction. From this research, Sonia explored the plastic possibilities applied to fashion and design, achieving dynamic and vibrant patterns. Another key idea was the idea of simultaneity: the consideration that colors interact with each other when placed side by side, creating a sense of movement and depth. Sonia applied this theory to painting and textile design. Born Sonia Ilínichna Stern, Sonia Delaunay is better known by her married name, which she adopted after marrying Robert Delaunay. A French painter and designer of Ukrainian origin, she was, along with her husband, one of the main representatives of abstract art, as well as the creator of simultanism. She grew up in St. Petersburg, in contact with the collection of paintings of the Barbizon School of her uncle and with the cultural life of the city. In 1903 she moved to Germany to further her education, where she discovered contemporary painting and studied drawing with Schmidt-Reuter. Two years later he moved to Paris and enrolled in the Academie de la Palette, where he was also initiated in engraving by Grossman. During these years he approached the European avant-garde through German expressionism, with a work that also reveals echoes of post-impressionism. In 1908 he held his first exhibition, showing works from his recently initiated Fauvist period. Two years later he married Delaunay, with whom he shared aesthetic concerns. Their art then underwent a change of direction, towards abstraction. The artist will then move towards the decorative arts, always with a purely abstract colorist language that will attract the attention of her peers and also of the critics. Although in 1912 she returned to painting, her fame as a designer had already been established throughout Europe. From then on, she frequently participated in important European exhibitions, such as the Berlin Autumn Salon or the Salon des Indépendants in Paris. During the First World War she lived in Spain and Portugal, where she developed an intense creative activity, including collaboration with Diaghilev's ballet. In 1921 the couple returned to Paris, where Sonia Delaunay continued to work on important projects, in addition to exhibiting her work both in Europe and the United States. Already fully recognized from the fifties onwards, compilations of her work began to be published, and in fact in 1958 her first retrospective exhibition was dedicated to her in Bielefeld (Germany). In addition, in 1975 she was named officer of the French Legion of Honor. Currently Delaunay is represented in major collections around the world, including the MoMA in New York, the Hermitage in St. Petersburg, the Reina Sofia in Madrid, the Albertina in Vienna and Haifa in Israel.

Stima 6 000 - 6 500 EUR

Lotto 78 - Equipo Crónica (Valencia, 1964 - 1981). "El Guernica". 1971 Silkscreen on paper, copy 82/100. Signed and numbered in pencil. Measurements: 75 x 55 cm; 81 x 61 cm (frame). Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their themes critically analyzed the political situation in Spain, as well as the History of Art, for which they were inspired by classic works such as Picasso's "Guernica" or Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on a darker and more somber image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to make a "chronicle of reality", a sort of social realism but using current visual systems. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, such as the newspaper photo. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire. Demystifying and decontextualizing the works of classic Spanish masters such as Velázquez, Goya or El Greco, they made their figures appear (the gentleman with his hand on his chest, the Duchess of Alba, etc.) as images in newspapers or advertisements, inaugurating buildings or among washing machines and express pots. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

Stima 1 600 - 2 000 EUR

Lotto 79 - ILYA GRIGOREVICH CHASHNIK (Lucyn,1902-Leningrad,1929). Untitled, 1921 Watercolor on paper. Signed and dated. Measurements: 35 x 24 cm; 64 x 52 cm (frame). Ilya Grigorevich Chashnik was a Suprematist artist, a pupil of Kazimir Malevich and a founding member of the UNOVIS school. Chashnik was born into a Jewish family in 1902, in Lucyn, Russian Empire, now Ludza, Latvia. He began studying at Yehuda Pen's art school in Vitebsk when he was only eleven years old. He became a pupil of Marc Chagall. In 1918 he moved to Moscow to work in an art studio run by Kazimir Malevich. He returned after Malevich accepted a position as a full professor at the Vitebsk School of Drawing and Painting. Chashnik was noted for his skill in a variety of media. Aleksandra Semenovna Shatskikh describes him as "famous for his inexhaustible inventiveness and ability to apply suprematist principles to virtually all art forms, including easel painting" He painted, mastered metalwork and designed ceramics produced at the Imperial Porcelain Factory (then known as the Lomonosov Porcelain Factory) Chasnik, along with Nikolai Suetin, was employed by the factory during his time as a member of UNOVIS. He died in 1929 in Leningrad at the age of 27. In 1981, the University of Texas at Austin organized an exhibition dedicated to his work.

Stima 2 600 - 2 800 EUR

Lotto 80 - SANDÚ DARIE (Roman, Romania, 1908 - Havana, Cuba, 1991). Untitled. Oil on canvas. Signed in the lower right corner. Attached certificate issued by Pedro de Oraá. Measurements: 70 x 100 cm; 74 x 104 cm (frame). Red, yellow, blue and black on white trace in this painting an intimate cartography and at the same time an imaginary pictographic language. Sandu Darie's avant-garde works are unclassifiable in that they attempt to eliminate the boundaries between art and craft. Despite Mondrian's influence, Darie's pieces complexify the integration of planes, imprinting on them a peculiar rhythm, beyond the formal minimalism that Mondrian proposed. A multidisciplinary artist, he worked in different fields of the artistic field, among which sculpture, painting, drawing, ceramics, scenographic design and theatrical costume design stand out. He began his academic training in Paris in 1926 in the university field of law. However, his interest in art and the artistic atmosphere of Paros introduced Saurdu Darie to the world of art in a self-taught way. During this period the artist combined his training in France with his participation in progressive magazines and newspapers in Romania and France, in which he made humorous drawings. In 1940 he joined the French army as a volunteer, arriving a year later in Cuba. On the island he began to make humorous drawings, which achieved a great reputation, making him a reference artist since 1942. Since 1949, the year of his first exhibition in New York, he began his artistic relationship with Gyula Kosice, founder of the group "Arte Madí", thus becoming part of the exhibitions of this group and the publication of articles in the group's magazine. Between 1958 and 1961 he was a member of the renowned group of artists "Diez Pintores Concretos", and in 1964 he made, together with Enrique Pineda Barnet, the documentary "Cosmorama. Spatial Poem No. 1", an experimental study of forms and structures in movement, during the 70's his production followed a line of projects for urban architectural environments using kinetic art as a language. In 1982 he was juror of the Salón Paisaje'82, Museo Nacional de Bellas Artes, Havana and in 1988 juror of the III Salón de Premiados, Museo Nacional de Bellas Artes, Havana, Cuba.Sandú Daire Laver, is one of the most outstanding figures of Cuban art. He is one of the main precursors of Abstraction in both its lyrical and geometric aspects. Being an example of his experience on geometric abstraction this plastic work, which by its formal and structural characteristics could be executed during the 50's. Besides being one of the maximum representatives of kinetic art. Among his numerous recognitions, it is necessary to emphasize the Honorary Mention of the VIIII Salón de Pintura y Escultura del Museo Nacional de Bellas Artes de La Habana in 1956 and his appointment as Honorary Member of the Royal Academy of Fine Arts of The Hague (Holland) in 1975, the Museo Nacional Centro de Arte Reina Sofía in Madrid, and numerous private collections around the world, as well as institutions such as the Casa de las Américas in La Hanana (Cuba) and the MoMA in New York, among others.

Stima 6 000 - 7 000 EUR

Lotto 81 - GRIGORY GUBAREV (St. Petersburg, 1895 - Kiev, Ukraine, 1978). Untitled. Oil on panel. Attached certificate issued by Jon Urgoiti. Measurements: 30 x 20 cm; 43 x 35 cm (frame). This painting is ascribed by period, origin and style to the Russian avant-garde, a period of great innovation and plastic experimentation, especially in the field of geometric abstraction. Within the dominant movements of the region (suprematism, rayonism, futurism...), the present work on panel follows constructivist models. The use of color is bold and vibrant, associated with a form that contains it and gives it dynamism. The Russian avant-garde encompasses a period of artistic innovation that developed approximately between 1890 and 1930. This school includes a variety of movements and styles that together transformed art and visual culture not only in Russia but throughout the world. Russian avant-garde artists sought to break with academic traditions and experiment with new forms, techniques and concepts. Malevich, Tatlin and Rodchenko were among the many stellar figures of the movement. Grigov Gubarev studied with the painters A.A. Vesnin and Andrei Pomarenko and attended the art school of the HYLEA group of futurist-cubist tendencies. He was a member of the futurist group "Luchistj primitives" and participated intensively in the post-revolutionary pictorial changes. His painting ranged from avant-garde to constructivism. He was a professor of color technique at the Leningrad State Art College. Emeritus painter, member of the Association of Soviet Painters, he participated in various Russian and pan-Soviet exhibitions: his post-cubist paintings and his decorations in the various popular Dom Kultur of the countries of the Soviet Union stand out.

Stima 1 200 - 1 800 EUR

Lotto 82 - MOISÉS VILLÈLIA (Barcelona, 1928 - 1994). "Model" 1978-1979. Bamboo and ceramic material (brick). Attached is an original sketch signed, dated, located and titled by the artist. Measurements: 60 x 45 x 20 cm. Moisés Sanmarón Puig, with the artistic name Villèlia, was a sculptor linked to the abstract movement, who initially identified himself with the artistic concerns of the Dau al Set group. He learned wood carving in the workshop of his father, a renowned craftsman, and during his childhood he received a rationalist education, interrupted by the outbreak of the Civil War. After the war, his family moved from Barcelona to Mataró. In 1945 Villèlia's interest in poetry was born, when he produced his first works, figurative wood carvings, with expressively elongated and dynamic profiles. He exhibited his work for the first time in 1949, at the Museum of Mataró. Four years later, after working with his father on the woodwork for the chapel of Santa Ana in the city, he decided to devote himself fully to sculpture. In these years he made his first non-figurative pieces, which adopted tubular forms, with longitudinal channels and Punctures. He came into contact with the Barcelona art world, especially with the poet Rabasseda and the critic Alexandre Cirici, and in 1954 he held his first solo exhibition, again at the Museum of Mataró. He presented a selection of his first works, reliefs that combined the influences of modernism and Eastern philosophies, which since his teenage readings were a constant in his life. In 1963 he devised the assemblages, pieces that could be combined according to the buyer's taste, and his growing interest in networks was awakened. With a scholarship from the French Institute in Barcelona, he moved to Paris in 1967. In the French capital he worked with perforated paper as the main material for his works. Two years later he moved to Argentina, where his brother, also a sculptor, lived, and finally settled in Quito, where he remained until 1972. When he returned to Spain, he moved to the town of Molló, in Girona, where he dedicated himself to making surrealist sculptures in which he used willow wood and assemblages of objects, which gave his works from this period a certain humorous sense. He died in 1994, and in 1999 the IVAM in Valencia dedicated a large retrospective exhibition to him. He is currently represented at the MACBA in Barcelona, the Museo Nacional Centro de Arte Reina Sofía and the Museo de Arte Contemporáneo Patio Herreriano in Valladolid.

Stima 3 000 - 3 500 EUR

Lotto 83 - ARMANDO CARDONA TORRANDELL (Barcelona, 1928 - Sant Pere de Ribes, Barcelona, 1995). Untitled, 1957. Acrylic on board. Signed and dated on the back. Measurements: 38x 46 cm; 43 x 51 cm (frame). Cardona Torrandell began his training in the humanities, to later delve into painting. His work, plastic testimony of the current world, is characterized by variegated compositions, full of human faces, calligraphic elements and inscriptions, which define his personal iconography. He organized his work in cycles: "Retablos de la gente" (1956), "Barcas" (1956), "Máquinas" (1957), "Paisajes Concretos" (1960), "Universo concentracional" (1965), "Numancia" (1972), "Naufragios" (1979), etc. He also dedicated some tribute works to Sartre, Antonio Machado, Ungaretti and Lluís Companys. In 1965 he did the scenography for "Ronda de muerte a Sinera", by Espriu-Salvat, and the following year for "La buena persona de Sezuan", by Brecth. He also collaborated with the Sitges Theater Festival. He was associated with the Parpalló Group, and was part of Crónica de la Realidad and Intrarealismo. In 1971 he was awarded the Ynglada-Guillot drawing prize. Cardona Torrandell is currently represented in the Victor Balaguer Museum in Vilanova i la Geltrú, the Vila Casas Foundation, the Rafael Zabaleta Museum and other public and private collections.

Stima 2 200 - 2 500 EUR

Lotto 84 - ENRIC PLANASDURÁ (Barcelona, 1921 - 1984). Untitled, 1956. Oil on canvas. Signed and dated in the upper right corner. Measurements: 100 x 72 cm; 110 x 82 cm (frame). Enrique Planas Durá, known as "Planasdurá" was one of the pioneers of abstract painting in Catalonia. He was a multifaceted and versatile artist, capable of working in painting, engraving, mural, stained glass, theatrical scenography, sculpture and other techniques. He belonged to artistic groups such as Lays del Círculo de Sant Lluc, with whom he signed the "Black Manifesto" in 1949, and the Ada group. Planasdurá made his individual debut in the Alfa Galleries in Barcelona in 1943, with a work of expressionist accent. However, he would later define himself within a geometric abstraction of strong chromatic intensity. He worked with polygonal shapes of flat colors, delimited by straight black lines. Less rigid than Mondrian and softer than the kinetics, his art has a clear spatial dimension that provides a certain sense of depth to the flat forms he employs, as in the piece we present. In 1974 he was awarded the City of Barcelona Prize. Planasdurà is represented in the Paul Klee Museum in Bern, the National Museum of Fine Arts in Taipei, the MACBA in Barcelona, the Patio Herreriano in Valladolid and the Museum of Contemporary Art in Madrid.

Stima 6 000 - 7 000 EUR

Lotto 85 - RAFA MACARRÓN (Madrid, 1981). "Veca", 2015. Paper mache and paint. Unique piece. Signed, dated and titled on the base. Provenance: Aurora Vigil Gallery. Presents a small crack in the tail. Measurements: 75 x 100 x 24 cm. In this sculpture Macarrón refers in a personal way to his dog, capturing its essence from its naive idiosyncrasy. In this synthetic image of stylized forms and intense color, the artist resorts to lines inspired in a harmonic way in nature, thus extolling forms with which he creates a new concept that starts from an imaginary world of vitality and joy. The representation of his dog as the protagonist of his work is not isolated, since in the exhibition "Quince", held at the Cac in Malaga in 2021, there were several sculptures starring a canine. In addition, a large bronze sculpture entitled "Perro I" can be found on Estepona's seafront promenade. However, in this particular case the sculpture stands out from the others due to the papier-mâché technique and its intense fuchsia pink coloring, which provides great expressiveness. Rafa Macarrón is one of the young Spanish artists with the greatest international projection at present. His painting brings into play wide and neutral spaces, with intense and vivid colors, through which unstable characters with fragile limbs and huge heads walk. In this way, he creates scenes that do not dispense with the figurative world, but that immerse the viewer in a dreamlike environment, full of lyricism. The artist recognizes that he is influenced by artists such as Dubuffet, Fraile, Matta or Quirós, as well as by the comics and Spanish painting of the 50s and 60s. His exhibition career began in 2006, with a solo show at the Sala Príncipe Sport in Madrid, entitled Trabubus. Since then he has participated in numerous solo and group exhibitions in national and international centers. Since 2008 he has also participated, with notable success, in numerous international art fairs, such as Art Madrid, Art Valencia, Scope Basel, the Young Art Taipei, ARCO Madrid, Art Miami - Aqua, Art Lima, Context New York, Berliner Liste, and others... He has received several awards, such as the BMW Painting Prize in 2010 or the Best Artist Arco Award in 2013. His work is preserved in important collections and museums, such as the Hudson Valley Center for Contemporary Art in New York, the BMW Foundation in Spain, the Vivanco Foundation in La Rioja, or the Pilar Citoler collection.

Stima 70 000 - 80 000 EUR

Lotto 86 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). Barcelona series, 1972. Etching, aquatint and carborundum. Copy 'Bon a tiré', 1972. Signed and inscribed in pencil. Inscribed: "Bat. Miró 6/IV/72 - 28/III/72 (6)." Ref. no. 602, p. 234, "Miró Graveur", Vol. II. Measurements: 70 x 105 cm; 87 x 122 cm (frame). Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Stima 5 000 - 6 000 EUR

Lotto 87 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). Barcelona series, 1972. Etching, aquatint and carborundum. Copy 'Bon a tiré', 1972. Signed and inscribed in pencil. Inscribed: "Bat. Miró 6/IV/72 - 28/III/72 (6)." Ref. no. 593, p. 228, "Miró Graveur", Vol. II. Measurements: 70 x 105 cm; 87 x 122 cm (frame). Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Stima 5 000 - 6 000 EUR

Lotto 88 - WASHINGTON BARCALA (Montevideo 1920-Montevideo 1993). "Composition". Mixed media on panel. Signed on the back. Measurements: 20 x 18,5 cm, 42,5 x 40,5 cm (frame). Multidisciplinary artist was formed sharing tasks in the factory of cardboard boxes of his parents, so he became familiar with the raw material that years later he would use in his work. In his early years of education he studied at the Círculo de Bellas Artes in Montevideo, coinciding with the artist Joaquín Torres García. In 1950 he attended classes at the Academia de Bellas Artes de San Fernando (Madrid). He returns to Montevideo and then returns to Madrid for good in 1975, when his work begins to acquire international projection. His production can be grouped into three styles: figurative painting (1946-1950), abstract and informalist painting (1961-1964) to reach what is his most personal style "stage of the boxes" since 1967. It is worth noting the artist's definition of his conception of art, which is collected on his website. "When I make a painting I try to create spaces of visual relationships where the forms express by their identity or general appearance, relationships and tensions, the phenomena that surround, the diverse realities of the physical or spiritual world. These vital testimonies, these intimate feelings poured into analytical or instinctive images, are the generators of what I call, in order to escape imprecise cataloguing, ordinations. To the surface of the work I concur with the motivations that will shape the image, with the inexhaustible possible solutions of composition, with an infinity of forms, with the different fabrics, children and papers, with woods in their natural or painted state and the colors with their mysteries of relationships. In an intense search to establish an order, everything is digested to achieve the maximum possible balance. Assuming that he has succeeded, the degree of experience of the work will be greater or lesser, depending on the success achieved". Today his works are found in different collections of great artistic relevance, both private and public, an example of this are the two works that the Museo Nacional Centro de Arte Reina Sofía, has in its collection.

Stima 2 500 - 3 000 EUR

Lotto 89 - ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968). Untitled. 1929. Oil on hard cardboard. Signed and dated in the lower right corner. Measurements: 63 x 48 cm; 87 x 74 cm (frame). In the transition from the twenties to the thirties, De la Serna's painting evolves towards a geometric abstraction that moves away from his post-cubist beginnings. The work shown here belongs to this second creative stage. The palette prioritizes brown and gray tones in contrast with the whites, developing in superimposed chromatic planes that seem to confer volume to the surface. De la Serna thus boldly employs color, organizing it in compositions that are balanced and dynamic at the same time. Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, which draws from impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what would be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo de Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the protector of the painter from Granada. De la Serna's style was, in this period, permeable to the influences of the avant-garde, mainly cubism and expressionism, which he worked in a very personal way. Likewise, the initial influence of impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong projection of his work, which began with the solo exhibition that the painter held at the influential Parisian gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition is to be found in his sensual reading of the forms of cubism, based on the relevance of a drawing of sinuous and highly decorative lines, combined with strong chromatic hallmarks. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly represented still lifes, where he accentuated the sensory side of his painting with metaphorical sensory references, such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating with a solo exhibition the activities of the Association of Iberian Artists in Madrid in 1932, the painter undertakes new ways of plastic experimentation that will lead, after the Second World War, to a more schematic and simplified painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM, etc.

Stima 7 000 - 8 000 EUR

Lotto 90 - MOISÉS VILLÈLIA (Barcelona, 1928 - 1994). "Construction with circle". Bamboo and metal. Attached is an original sketch signed, dated, located and titled by the artist. Measurements: 32 x 35 x 8 cm. Moisés Sanmarón Puig, with the artistic name Villèlia, was a sculptor linked to the abstract movement, who was initially identified with the artistic concerns of the Dau al Set group. He learned wood carving in the workshop of his father, a renowned craftsman, and during his childhood he received a rationalist education, interrupted by the outbreak of the Civil War. After the war, his family moved from Barcelona to Mataró. In 1945 Villèlia's interest in poetry was born, when he created his first works, figurative wood carvings, with expressively elongated and dynamic profiles. He exhibited his work for the first time in 1949, at the Museum of Mataró. Four years later, after working with his father on the woodwork for the chapel of Santa Ana in the city, he decided to devote himself fully to sculpture. In these years he made his first non-figurative pieces, which adopted tubular forms, with longitudinal channels and Punctures. He came into contact with the Barcelona art world, especially with the poet Rabasseda and the critic Alexandre Cirici, and in 1954 he held his first solo exhibition, again at the Museum of Mataró. He presented a selection of his first works, reliefs that combined the influences of modernism and Eastern philosophies, which since his teenage readings were a constant in his life. In 1963 he devised the assemblages, pieces that could be combined according to the buyer's taste, and his growing interest in networks was awakened. With a scholarship from the French Institute in Barcelona, he moved to Paris in 1967. In the French capital he worked with perforated paper as the main material for his works. Two years later he moved to Argentina, where his brother, also a sculptor, lived, and finally settled in Quito, where he remained until 1972. When he returned to Spain, he moved to the town of Molló, in Girona, where he dedicated himself to making surrealist sculptures in which he used willow wood and assemblages of objects, which gave his works from this period a certain humorous sense. He died in 1994, and in 1999 the IVAM in Valencia dedicated a large retrospective exhibition to him. He is currently represented at the MACBA in Barcelona, the Museo Nacional Centro de Arte Reina Sofía and the Museo de Arte Contemporáneo Patio Herreriano in Valladolid.

Stima 1 800 - 2 200 EUR

Lotto 91 - MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). Untitled, 1971. Mixed media on paper. Signed, located and dated in the lower left corner. Measurements: 35 x 50 cm; 38 x 53 cm (frame). Magda Bolumar entered in 1948 in the studio of the painter Rafael Estrany, disciple of James Ensor, later studying at the School of Arts and Crafts of Mataró. In 1954 she contacted some members of the group Dau al Set and the sculptor Moisés Villelia, one of the architects of the group Arte Actual, whom she married, initiating a joint investigation on the primary materials in art. Magda Bolumar was especially known for the Xarpelleres, which she exhibited for the first time in Barcelona in 1960. In the Xarpelleres, matter and texture have a special importance, which connects these works with Informalism. However, Magda Bolumar's works have an essentially constructivist sense, since the structure acquires in them the main protagonism from the tension of the threads with which they are made. Cirici Pellicer wrote that, unlike the works of informalist artists such as Burri or Millares, as opposed to dramatism or denunciation, "in Magda Bolumar's work, the textile serves for the construction of a new cosmos, it manifests the need to "reorder" the world through the weft of the threads".1 Mª Luisa Borrás wrote that "the magnificent "xarpelleres" of this artist manifest an overwhelming liberation of forces, cerebral in their majority, that end in tensions of warp in weft, starry or parallelisms revealing an intellectual liberation, of ingenuity and constructive rigor". Neither does the artist see her work within Informalism, but the need to turn artists into followers of the great male names, considered by canonical history as the only valid ones, has forced the meaning of the matter-avant-garde relationship, making it necessarily go through a reading from Informalism at that moment of Spanish art". With the embroidery of her "xarpelleres", Magda Bolumar seeks to approach life poetically, as Joan Brossa said in a text dedicated to one of the artist's paintings, in which he emphasized the lyrical sense of these textile structures: "El marc/ fa de tambor/per a bordar el sac" (Brossa, 1965).

Stima 3 000 - 3 500 EUR

Lotto 92 - MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). Untitled, 1996. Mixed media on burlap. Signed and dated in the lower right corner. Signed and dated on the back. Measurements: 82 x 122 cm; 85 x 125 cm (frame). Magda Bolumar entered in 1948 in the studio of the painter Rafael Estrany, disciple of James Ensor, later studying at the School of Arts and Crafts of Mataró. In 1954 she contacted some members of the group Dau al Set and the sculptor Moisés Villelia, one of the architects of the group Arte Actual, whom she married, initiating a joint investigation on the primary materials in art. Magda Bolumar was especially known for the Xarpelleres, which she exhibited for the first time in Barcelona in 1960. In the Xarpelleres, matter and texture have a special importance, which connects these works with Informalism. However, Magda Bolumar's works have an essentially constructivist sense, since the structure acquires in them the main protagonism from the tension of the threads with which they are made. Cirici Pellicer wrote that, unlike the works of informalist artists such as Burri or Millares, as opposed to dramatism or denunciation, "in Magda Bolumar's work, the textile serves for the construction of a new cosmos, it manifests the need to "reorder" the world through the weft of the threads".1 Mª Luisa Borrás wrote that "the magnificent "xarpelleres" of this artist manifest an overwhelming liberation of forces, cerebral in their majority, that end in tensions of warp in weft, starry or parallelisms revealing an intellectual liberation, of ingenuity and constructive rigor". Neither does the artist see her work within Informalism, but the need to turn artists into followers of the great male names, considered by canonical history as the only valid ones, has forced the meaning of the matter-avant-garde relationship, making it necessarily go through a reading from Informalism at that moment of Spanish art". With the embroidery of her "xarpelleres", Magda Bolumar seeks to approach life poetically, as Joan Brossa said in a text dedicated to one of the artist's paintings, in which he emphasized the lyrical sense of these textile structures: "El marc/ fa de tambor/per a bordar el sac" (Brossa, 1965).

Stima 8 000 - 10 000 EUR

Lotto 93 - ROBERT LLIMÓS ORIOL (Barcelona, 1943). "Poma painter", Barcelona, 1988. Oil on canvas. Signed and dated in the lower left corner. Dated, titled and located on the back. Provenance: -Galeria Gamarra y Garrigues. With label on the back. -Private collection Measurements: 114 x 114 cm; 115 x 115 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.

Stima 1 500 - 1 800 EUR

Lotto 94 - SABINE FINKENAUER (Germany, 1961) "Girl".2002. Oil on canvas. Signed, titled and dated on the back. Measurements: 30 x 52 cm. This girl's face subjected to a process of synthesis is ascribed to a constant search for essentiality to which Finkenauer submits all kinds of things (figures, furniture, mountains ...) They are often figures related to the children's imagination and the story, as in this case, which could be described as dolls, girls, or princesses. All this universe of "things" is portrayed through a simple and rigorous formal language, working in a playful way between abstraction and figuration of a reality that evokes without representing. Sabine Finkenauer, born in the city of Rockenhausen, lives and works in Barcelona since 1993. After her training at the Academy of Fine Arts in Munich, she specialized in sculpture, although in the early eighties, already settled in Barcelona, her work took a turn towards painting. The general theme of Sabine Finkenauer's work, in her own words, is "simple things". This German artist has been steadily progressing and gaining recognition for several years. Her solo show at the Städtische Galerie in Villingen - Schwenningen, Germany and her participation in Non-Declarative drawing at the Drawing Center in New York (2007), curated by Luis Camnitzer, confirm the interest of her work. As well as his recent participation in Painting: permanent renewal, curated by Mariano Navarro at the Museo Patio Herreriano in Valladolid (2021) and in Drawing Positions, curated by Monica Álvarez Careaga at the CAB in Burgos (2019).

Stima 1 600 - 2 000 EUR

Lotto 95 - SABINE FINKENAUER (Germany, 1961) "Girl".2002. Oil on canvas. Signed, titled and dated on the back. Measurements: 30 x 52 cm. This girl's face subjected to a process of synthesis is ascribed to a constant search for essentiality to which Finkenauer submits all kinds of things (figures, furniture, mountains ...) They are often figures related to the children's imagination and the story, as in this case, which could be described as dolls, girls, or princesses. All this universe of "things" is portrayed through a simple and rigorous formal language, working in a playful way between abstraction and figuration of a reality that evokes without representing. Sabine Finkenauer, born in the city of Rockenhausen, lives and works in Barcelona since 1993. After her training at the Academy of Fine Arts in Munich, she specialized in sculpture, although in the early eighties, already settled in Barcelona, her work took a turn towards painting. The general theme of Sabine Finkenauer's work, in her own words, is "simple things". This German artist has been steadily progressing and gaining recognition for several years. Her solo show at the Städtische Galerie in Villingen - Schwenningen, Germany and her participation in Non-Declarative drawing at the Drawing Center in New York (2007), curated by Luis Camnitzer, confirm the interest of her work. As well as his recent participation in Painting: permanent renewal, curated by Mariano Navarro at the Museo Patio Herreriano in Valladolid (2021) and in Drawing Positions, curated by Monica Álvarez Careaga at the CAB in Burgos (2019).

Stima 1 600 - 2 000 EUR

Lotto 96 - SABINE FINKENAUER (Germany, 1961) Untitled.2000. Oil on canvas. Diptych. Signed and dated on the back. Measurements: 101 x 105 cm. each one. These two faces of girls submitted to a process of synthesis are ascribed to a constant search for the essentiality to which Finkenauer submits all kinds of things (figures, furniture, mountains...) Often they are figures related to the children's imaginary and the story, as in this case, which could be described as dolls, girls, or princesses. All this universe of "things" is portrayed through a simple and rigorous formal language, working in a playful way between abstraction and figuration of a reality that evokes without representing. Sabine Finkenauer, born in the city of Rockenhausen, lives and works in Barcelona since 1993. After her training at the Academy of Fine Arts in Munich, she specialized in sculpture, although in the early eighties, already settled in Barcelona, her work took a turn towards painting. The general theme of Sabine Finkenauer's work, in her own words, is "simple things". This German artist has been steadily progressing and gaining recognition for several years. Her solo show at the Städtische Galerie in Villingen - Schwenningen, Germany and her participation in Non-Declarative drawing at the Drawing Center in New York (2007), curated by Luis Camnitzer, confirm the interest of her work. As well as his recent participation in Painting: permanent renewal, curated by Mariano Navarro at the Museo Patio Herreriano in Valladolid (2021) and in Drawing Positions, curated by Monica Álvarez Careaga at the CAB in Burgos (2019).

Stima 4 200 - 4 800 EUR

Lotto 97 - ESTEBAN VICENTE PÉREZ (Turégano, Segovia, 1903 - New York, 2001). Untitled, 1967. Ink on paper. Signed. Exhibitions: Madrid, Elvira González Gallery, "Esteban Vicente. Black and white", 17 March - 14 April 2000, page 33 (reprod.). Barcelona, Alejandro Sales Gallery, "Esteban Vicente", November 2006 (reprod.). Measurements: 48 x 70 cm; 70 x 90 cm (frame). Esteban Vicente enters, in 1921, in the School of Fine Arts of San Fernando, in Madrid, with the purpose of training as a sculptor, but soon decides to devote himself to painting. In 1928 he held his first exhibition, after which he went to Paris, where he remained until 1930. He returned to Spain and exhibited in Barcelona and Madrid, and after the outbreak of the Civil War he worked in hiding in the mountains surrounding the capital. However, the same year of 1936 he decides to go to New York, his wife's place of origin. There he exhibited for the first time at the Kleeman Gallery in 1937. Four years later he obtained the American nationality since, having been a supporter of the Republican side, he decided not to return to Spain. He carried out numerous commissions and exhibitions in the following years, and between 1947 and 1947 he was a professor of painting at the University of Puerto Rico. Upon his return to the United States he established a relationship with the nascent New York School, participating in his exhibitions at the Kootz Gallery (1950), the Ninth Street Art Exhibition (1951) and at the Sidney Janis and Egan Galleries. He was a founding member of the New York Studio School, where he taught for thirty-six years. From the eighties onwards his work began to be known in Spain, retrospectives were dedicated to him (Banco Exterior, 1987, and Museo Reina Sofía, 1997) and he was awarded mentions such as the Gold Medal for Merit in Fine Arts (1990) and the Great Cross of Alfonso X the Wise (1999). In 1998 the Esteban Vicente Museum of Contemporary Art was inaugurated in Segovia, where a large part of his work is preserved today. Vicente's works are kept in major contemporary art museums around the world, such as the Metropolitan, the Guggenheim and the MOMA in New York, the Museo Nacional Reina Sofia in Madrid, the Smithsonian in Washington D.C., the Withney Museum of American Art or the Indianapolis Museum of Art, among others.

Stima 16 000 - 18 000 EUR

Lotto 98 - JOSÉ GUERRERO (Granada, 1914 - Barcelona, 1991). Untitled, 1985. Oil on lithographic background. Signed and dated. Bibliography: Baena, Francisco; Guibault, Serge; Ramírez, Juan Antonio; Romero Gómez, Yolanda; Vallejo Ulecia, Inés, Catalogue Raisonné Vol. II. 1970-1991, ed. Centro José Guerrero, page 1090, nº 1133. Measurements: 68 x 48 cm; 82 x 64 cm (frame). Spanish painter and engraver nationalized American, José Guerrero developed his work within the abstract expressionism. He began his training at the School of Arts and Crafts in Granada, and soon moved to Madrid to continue his studies at the Escuela Superior de Bellas Artes de San Fernando, where he was a student of Daniel Vázquez Díaz. In 1942 he obtained a scholarship from the Casa de Velázquez, and in 1945 he moved to Paris thanks to a new scholarship, this time granted by the French government. In the French capital he got to know first hand the European avant-garde, and came into contact with the Spanish painters of the School of Paris. Since then, his work is full of avant-garde echoes and Picasso's signs, clearly visible in this work, features that he will abandon in the fifties, when he discovers abstract expressionism in New York. He arrived in that city in 1950, encouraged by his wife, the New York journalist Roxana Pollock, whom he had married a year earlier. In 1954 he exhibited with Joan Miró at the Art Club of Chicago, an exhibition that meant his definitive international projection. His dealer was Betty Parson, one of the most important gallery owners in New York at the time. Guerrero's style then changed completely, showing a profound influence of Rothko and Kline; he definitively abandoned figuration and built compositions where a marked tension between spaces, colors and unrecognizable objects was evident. He returns to Spain in 1965, and participates in the creation of the Museum of Abstract Art in Cuenca. He soon returned to New York, although he continued to make trips to Spain. His production, which continues to be characterized by the power of masses of color, planes and lines, is influenced at this time by Clyfford Still and Barnett Newman. Today, José Guerrero is recognized as one of the most outstanding Spanish painters of the New York School. He achieved early recognition, being named Knight of the Order of Arts and Letters by the French government in 1959. Likewise, in 1976 his first anthological exhibition was held in his hometown. In 1984 he received the Gold Medal of Fine Arts, and in 1989 he was decorated by the Rodriguez Acosta Foundation. In 2000 the art center that bears his name was inaugurated in Granada, created from the donation made by his widow to the Provincial Council. He is also represented in various museums and collections, including the Guggenheim Museum, the MOMA and the Metropolitan in New York, the Reina Sofia in Madrid, the British Museum and the Patio Herreriano in Valladolid.

Stima 15 000 - 18 000 EUR

Lotto 99 - JOSÉ MANUEL BROTO GIMENO (Zaragoza, 1949). "Hierros", 2000. Acrylic on canvas and wood. Signed, dated and titled on the back. Size: 100 x 100 cm. Aragonese painter framed within the new abstraction of the seventies, being considered as one of the most significant figures of contemporary Spanish painting, José Manuel Broto articulates his plastic language using colour, modulating it in subtle tonal variations that evoke musical symphonies. The artistic influences received throughout his career led him towards an abstraction close to artists such as Mark Rothko, Barnett Newman, Clyfford Still, Robert Motherwell and Sam Francis, based on lyricism and, in some cases, the sublime. The path opened up by Antoni Tàpies, who shunned the conceptual to practise a material art based on the essentiality of painting, was fundamental for him. Thus, in this work, Broto uses an abstract language, based on irregular geometry, free both in its layout and in its textures and colours. The pictorial forms are the fruit of duality, in that they are resolved by means of a thought-out composition and also by experimentation. The result is an image that transcends, indicating to the spectator that we are dealing with forms, ideas or suggestions that go beyond the boundaries of the purely pictorial. José Manuel Broto studied at the School of Arts and Crafts in Zaragoza, and exhibited his work for the first time in 1968 (Galdeano gallery), showing a style in line with constructivism. In 1972 he moved to Barcelona, where he founded the group Trama together with Javier Rubio, Xavier Grau and Gonzalo Tena. With this group he presented his work in 1976 at the Maeght gallery in Barcelona, with the support of Antonio Tàpies. Trama also published an art magazine of the same name, of which, however, only two issues appeared (1976-1977). However, after the dissolution of the group, Broto moved towards a language close to abstract expressionism, which incorporated a primitive natural landscape into his work. He showed these new works in his first solo exhibition in Paris, held in 1984 at the Adrien Maeght gallery. The following year he left Barcelona and settled in the French capital, where he spent ten years and coincided with other Spanish artists such as Barceló, Campano and Sicilia. During his Parisian period Broto replaced the romantic themes with more austere and abstract forms, and his work became filled with organic forms related to the ascetic and mystical tradition. In the mid-1980s he returned to Spain, this time settling in Mallorca. Already a mature artist, he practises a neo-abstraction directly linked to the Catalan school of the seventies, influenced in its origins by the aesthetic and plastic principles of the French group Soporte/Superficie, which in 1966 called for a return to painting after the disorder produced by the conceptual movements. From 1998 onwards, his range of themes broadened to include spatial figures, transparencies, atmospheric forms, etc., combined with a colourful treatment and a rigorous structure. Throughout his career, Broto has held numerous exhibitions, and has been awarded the National Prize for Plastic Arts (1995), the ARCO Prize of the Critics' Association (1997) and the Aragón Goya Prize for Engraving (2003). In 1995 the Reina Sofía Museum in Madrid dedicated a retrospective exhibition to him. He is currently represented in the Museo de Arte Abstracto Español in Cuenca, the FRAC (Midi-Pyrénées, France), the Chase Manhattan Bank Collection in New York, the Juan March Foundation, the Reina Sofía, the Metropolitan Museum in New York, the Fond National d'Art Contemporain in Paris, the Kampo Collection in Tokyo, the Tàpies Foundation in Barcelona, the DOVE Collection in Zurich, the Ateneum in Helsinki, the Peter Stuyvesant Foundation in Amsterdam, the Maeght in France, the La Caixa Collection in Barcelona, the Preussag in Hanover and the IVAM in Valencia.

Stima 7 000 - 8 000 EUR

Lotto 100 - MIGUEL ÁNGEL CAMPANO (Madrid, 1948 - 2018). Untitled.1993. Oil and acrylic on linen. Signed and dated on the back. Work reproduced in: -Santiago Olmo, "Miguel Ángel Campano. Paintings 1993", Ed. Gallery Juana de Aizpuru, Madrid 1993, p. 12 -Santiago Olmo, "Campano", Ed. Association Fortant de France, Setè 1994, p. 45. -Santiago Olmo, "Miguel Ángel Campano", Ed. Sa Nostra, Social and Cultural Work, Palma de Mallorca 1997, p. 19". Measurements: 266 x 195 cm. We are before a composition of great format that conjugates the visual effect that results from the chromatic and conceptual contrast between two opposite colors, the white and the black, at the time that explores the imperfection of the minimal deceptively geometric forms: the deformed oval, the point that expands in spot. These hollowed out forms are characteristic of the works made by Campano in the early nineties, which he had already begun to explore when he abandoned figuration. The artist claimed to be influenced by his travels to Asian countries. In the nineties, he used only black oil. Campano reinvented himself again and again. From the 1990s onwards, Campano's work underwent different processes of stripping: on the one hand, references to tradition were cut and, on the other, color was excluded from his painting, working only in black on bare canvas. Reflection on geometry, on the other hand, became a key aspect of his production. Miguel Ángel Campano is one of the referents of the so-called renovation of Spanish painting, which took place in the eighties and in which Ferrán García Sevilla, José Manuel Broto, José María Sicilia and Miquel Barceló also participated. In the 70's he moved to Paris thanks to a scholarship; the planned year became a stay of more than ten, there he lived and developed his brilliant pictorial career. Then he went to live in Mallorca. In 1980 he was part of the exhibition Madrid DF, in the Municipal Museum of Madrid, along with several artists among whom were the same ones that today -except García Sevilla- accompany him in the Palacio de Velázquez. Five years later he was selected, together with other fellow artists of his generation, then all young painters, such as Miquel Barceló, who was already an outstanding figure, and José María Sicilia, for a group exhibition in New York. In 1996 he was awarded the National Prize for Plastic Arts. He had just suffered a serious stroke and underwent surgery in Madrid. This forced him to spend several months without painting. Then he painted "only in black", a very symbolic color according to his own words. Three years later, the Reina Sofia Museum organized in this same Palacio de Velazquez an exhibition dedicated to his recent work then, that of the 90s. His works are exhibited in the most important museums, such as the British Museum in London, the Pompidou Center in Paris and the Centro de Arte Contemporáneo Reina Sofía in Madrid.

Stima 45 000 - 50 000 EUR

10th September - Contemporary Art

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Lotto 67 - JAVIER CODESAL (Sabiñánigo, Huesca, 1958) The missing feet#4, 2010. Color photography, ed. 1/3. Measurements: 76 x 110 cm; 80 x 114 cm (frame).