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10th September - Contemporary Art

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编号 102 - JOAN GARCÍA RIPOLLÉS (Castellón, 1932) "The sorcerer". In bronze. Exemplary PA 1/4. Signed and numbered. Presents certificate of authenticity. Measurements: 116 x 45 x 50 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.

估价 22 000 - 24 000 EUR

编号 103 - JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984). "Eyes, circles, owls", 1970-1976. Mixed media on paper. Measurements: 21 x 13,5 cm; 37 x 29 cm (frame). Drawing conceived for the book "Eyes, circles, owls", by Luis Goytisolo. The head of the drawing appears published in Goytisolo's 1970 book. According to the annotations on the drawing, it was begun in Cadaqués and finished in Colliure in 1976. Painter and draftsman, he was trained in Barcelona, in the workshop of Ramon Rogent and at the Academy of Plastic Arts with Angel Lopez-Obrero. After dedicating himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Art Gallery of Bilbao, which was to be his definitive consolidation within the national artistic panorama. In 1948 he founded, together with Tharrats, Puig, Cuixart, Tàpies and Brossa among others, the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he participated in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and was able to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, with such success that the organization acquired all of the works. In Brazil he visited the equatorial jungles, where he was impressed by the fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to an illness, as a fully consecrated artist, he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and several Spanish cities. In 1965 he won the International Drawing Grand Prize at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are at the same time painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, a spell, something supernatural.

估价 1 500 - 1 800 EUR

编号 104 - EVA MONTORO (Madrid, 1968). "Yo Frida", 2021. Waxed bronze with patinated loss. Signed and dated. Measurements: 63 x 43 x 36 cm. Frida Kahlo is considered an icon of Mexican culture and an international reference whose aura grows with time. In this case Eva Montoro pays homage to the Mexican artist with this bronze bust. On this occasion, her defiant gaze is framed by her bushy eyebrows joined by a single stroke. This is an element that she will always exhibit with pride, exaggerating the feature by painting her eyebrows and often with a mustache, elements that later feminism will claim as signs of strength of a character that does not bend to what is expected of a woman, both in outward appearance and behavior. Eva Montoro began her artistic education in 1984, studying at the School of Applied Arts and Artistic Trades in Madrid. In 1988 she entered the Faculty of Fine Arts at the Complutense University of Madrid where she specialized in Graphic Design. Between 1991 and 1993 he continued his training at the School of Applied Arts and Artistic Crafts of Madrid where he took courses in Story Board and Scriptwriting, as well as Computer-Assisted Graphic Design. In 1995 he specialized in Sculpture, where he discovered his true vocation. In 1992 he made his first university exhibition in the hall of the faculty, in 1993 the second, in the same room and in the town hall of Ciudad Real. In the same year he began to work in the illustration studio Tango and Gandolfi, this one dedicated to illustrate books under license of Walt Disney. In 1994 he exhibited his work again, at the Lisboa Gallery in Madrid. In 1999 she entered a decisive competition for the beginning of her career as a sculptor, organized by the municipality of Leganés, Madrid. This contest gave her several contracts for public works.

估价 8 000 - 10 000 EUR

编号 105 - SANTIAGO MONTES LUENGAS (Villa de Laredo, Cantabria, 1911 - 1954). "Composition". Oil on canvas. Signed Measurements: 81 x 65 cm.; 103 x 86 cm.(frame). Santiago Montes Luengas was a Spanish painter recognized for his original works and as a copyist of the Prado Museum. During the Spanish Civil War, he faced the challenge of remaining in hiding for eight years, followed by subsequent imprisonment. In Yeserías prison in Madrid, he painted portraits of several of his fellow prisoners, including Cipriano Rivas Cherif, Manuel Azaña's brother-in-law. Coming from a family of fishermen with seven brothers, Santiago experienced the pain of losing his brother Ángel, shot in the Dueso prison as a result of the same conflict. With the arrival of the Civil War, Montes, who fought on the side of the Republican Government, and just before the capture of Santander by the rebels in 1936, tried unsuccessfully to flee to France by boat. Failing all attempts at voluntary exile, he decided to hide, according to common practice, in his own house, in a camouflaged hiding place in the attic, which only he and his wife knew about, and which they kept hidden from their four children to prevent them from unwittingly betraying him. During the forced confinement Montes painted and drew obsessively. At the end of World War II in 1945, coinciding with an amnesty of the Franco regime, Montes decided to come out of hiding and surrender to the authorities, who kept him in prison for almost a year while waiting for the application of the amnesty. During his stay in the prison for political prisoners of Yeserías in Madrid, as well as in Santander, he made numerous portraits of his fellow prisoners, such as that of Cipriano Rivas Cherif, brother-in-law of Manuel Azaña, President of the Second Spanish Republic. In 1946, having gathered enough evidence to clear him of serious crimes, he was released and began a new professional and creative stage that led him to become the official copyist of the Prado Museum, making copies of Mantegna, Van Der Weyden, or Murillo so good that even experts find it difficult to differentiate them from the originals. Parallel to the numerous commissions for copies, almost all of them from foreign tourists visiting the museum, Montes produced his own personal pictorial work in an artistic career that was abruptly interrupted in 1954 by his premature death at the age of forty-three.

估价 2 800 - 3 000 EUR

编号 106 - URBANO LUGRÍS GONZÁLEZ (La Coruña, 1908-1973). "In the light of the moon", 1965. Ink on paper. With poem by the artist. Size: 44 x 33 cm; 64 x 53 cm (frame). Urbano Lugris began his artistic training under the influence of Nacho Viéitez, a man whose purpose was to encourage the practice of painting in the new generations. He abandoned his studies as a mercantile expert in La Coruña to move to Madrid in 1930, where he joined the Pedagogical Missions, with which he toured several Spanish cities designing costumes and sets for the theater La Barraca. During this period he met Federico García Lorca and Rafael Alberti. During the civil war he participated as a volunteer in the Republican army, going to the front of Asturias. After the end of the war in 1954 he founded in La Coruña the magazine Atlántida, with his friends Mariano Tudela and José Mª de Labra, in which he actively participated, writing articles and poems, as well as numerous illustrations and designing the front cover. In 1965 he moved to Vigo where he died on December 23, 1973. In 1997 the largest exhibition dedicated to Urbano Lugrís, curated by Rosario Sarmiento and Antón Patiño, was held at the Círculo de Bellas Artes in Madrid and at the Auditorio de Galicia in Santiago de Compostela. On the occasion of this exhibition, an important book-catalog of the exhibition was published, as well as a facsimile of the magazine Atlántida. In 2007 the book by Antón Patiño Urbano Lugrís, "Viaje al corazón del océano" (Journey to the heart of the ocean) was published. Lugrís was an almost self-taught painter whose pictorial work reflects a predilection for marine themes, portrayed with an atmosphere of dreamlike and idealized character. His pictures are almost always painted on board in small and medium formats. He was influenced by his godfather, the writer Francisco Tettamancy y Gastón and by concepts of Italian metaphysical painting, especially Carrá and Chirico, and French surrealism, the paintings of Tanguy and Magritte. Some authors wanted to relate him to Dalí, based on the use of blue as the main color in his paintings, but this detail is not taken from the Catalan, but from Platinir.

估价 3 300 - 3 500 EUR

编号 107 - JOSÉ PÉREZ SANLEÓN (Catarroja, Valencia, 1953). Untitled, 1999. Oil on aluminium. Provenance: Important Spanish Collection. Size: 27 x 41 cm. Over the years, the work of José Pérez has undergone an evolution from lyrical abstraction to conceptual art. In his most recent works, in which we can see a greater intervention of chance, he uses new materials, such as iron sheets. With a style that shows a great predilection for colour and finishes on the support, his expressionist gesture stands out, profuse and rich in material, often applied to figurative themes. One of the most important abstract artists in the renewal of the Valencian and Spanish art scene in the eighties, José Sanleón began his career in the seventies, and in 1978 and 1979 he was one of the first winners of the Bancaja Painting Prize, in what was then known as the Salón de Primavera (Spring Salon). That same year, 1979, he took part in the exhibition "Perspectiva 80", and in 1986 he was part of the group exhibition "Plástica valenciana contemporánea". That same year he held an outstanding exhibition in Paris, at the Antiope France gallery, and in 1995 he exhibited at the Valencian gallery Parpalló. Mainly a painter but also a sculptor, Sanleón has carried out projects in the latter field, such as the sculptural installation at the main entrance to the Lauria building in Valencia (2008). In 2007 he was the subject of a major retrospective exhibition at the IVAM in Valencia, an institution that will devote another exhibition to him in 2010. Two years later, in 2012, the Bancaja Foundation held an extensive exhibition of his recent work. Sanleón is currently represented in the IVAM in Valencia, the Bancaja Foundation, the Argentaria and other collections, both public and private.

估价 3 500 - 4 000 EUR

编号 108 - SYLVIE FLEURY (Geneva, 1961). "Scratch". Curlers and hairpins. With methacrylate urn. Work exhibited at: -Bob Van Orsouw Gallery, "Silvie Fleury", Zurich 1993. -Musée d'Art Moderne et Contemporain de Genève, "Silvie Fleury. First Spaceship on Venus", Geneva, 7 June-8 September 1996. -Centre National d'Art Contemporain, Magasin, "Silvie Fleury. Identity, Pain, Astral Projection", Grenoble 21 October 2001-6 January 2002. Measurements: 21 x 21 x 11 cm; 50 x 46 cm (methacrylate urn). Sylvie Fleury is best known for her installations. She first appeared in the nineties with her series "Shopping Bags", a collection of bags from luxury boutiques through which she posed the relationship between art and fashion, positioning herself against the dominant and superfluous consumption that floods our society. Currently, his art integrates the fashion industry, cosmetics and luxury American cars (symbol and cliché of an American life, but also a commonly imported vehicle in Switzerland), and uses the marketing system to create an attractive and visual work. With his work "Curlers," Fleury focuses on superficial beauty, substituting the subject (the absent face) for the object (curlers). On one occasion Fleury stated "I show things as they are. And in this way, I also expose the instruments and mechanisms that make them what they are", a statement that allows us to understand the artist's artistic thinking. Many of Silvie Fleury's works can be found in important international institutions, such as the Museum of Modern Art in New York, the Centre for Art and Media in Karlshure, the Museum der Moderne, the Museum Villa Stuck or the MACBA in Barcelona.

估价 18 000 - 20 000 EUR

编号 109 - ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Red and black composition", circa 1962. Oil and gouache on lithographed paper mounted on canvas. Attached is a certificate issued by the Antoni Clavé Archives. The work is registered in the Antoni Clavé Archives, Paris. No : 62TMPMT18. Signed in the lower right corner. Size: 57 x 77 cm; 67 x 87 cm (frame). On a dark background the intensity of the red stands out, reaching a contrast of colours, which brings vivacity to the composition and awakens the spectator's gaze. Through the play between red and black, a resource often used by Antoni Clave, the artist deploys a whole set of elements, apparently random, which come together to form a baroque composition. Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

估价 12 000 - 13 000 EUR

编号 111 - ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009). Untitled. Oil on canvas. Attached payment receipt signed by the artist, May 1968. Measurements: 43 x 34 cm. The abstract language gave Ràfols Casamada considerable creative freedom to experiment with textures, shapes, gesture and color, prioritizing at all times compositional simplicity and conceptual richness. In this composition, the space is divided into three zones: on the right side we can appreciate the faint drawing of a cup on a plate that seems to be chiseled with a gouge on wood, and on the left side a wedge imprints dynamism to the geometry. The central white band separates both realities. Ràfols gives the viewer the responsibility of deciphering the messages, based on the emotions that the plastic experimentation awakens in him. Painter, educator, writer and graphic artist, Ràfols Casamada enjoys great international prestige. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he will elaborate a poetic abstraction, amorphous in its configuration, free and intelligent, the result of a slow gestation and based on environments, themes, objects or graphics of everyday life. Ràfols Casamada works with these fragments of reality, of life, in a process of disfigurement, playing with the connotations, the plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a scholarship to travel to France, and settled in Paris until 1954. There he became acquainted with post-cubist figurative painting, as well as the work of Picasso, Matisse, Braque and Miró, among others. These influences were joined in his painting to that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona, he embarked on his own artistic path, with a style characterized by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of color in expressive harmony on which gestural charcoal lines stand out. He has received 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.

估价 4 000 - 5 000 EUR

编号 112 - JOSE TELMO LODEIRO (Vigo, 1931-1996). "Sunset in the Galician estuaries", 1996. Oil on canvas. Signed in the lower magen. Signed and dated on the back. Measurements: 100 x 81 cm; 124 x 106 cm (frame). This painting explores the landscape, as is usual in Lodeiro, from a perception interiorized by the chromatic ecstasy. Considered one of the great Galician painters of the century. Lodeiro was awarded the Galician critics' prize in 1993 for the commitment of his artistic work to the people and the working class. Despite his traveling spirit, at all times he maintained a very direct contact with the living culture of Galicia and with the workers' and nationalist movements. Lodeiro was one of the pioneers of the avant-garde in Galicia, and his creative individuality is catalogued as one of the richest contributions to the history of Galician culture.He was born in 1930 in one of the most characteristic streets of Vigo, the Falperra. He liked to boast of being from Vigo and of being a Celtista, and he always kept in touch with the nationalist and workers' movements. In fact, he considered himself a painting worker. After his death, the Centro de Arte Contemporánea de Galicia (CGAC) dedicated a retrospective to him in 2007. And the Exponav Foundation inaugurated the first exhibition dedicated entirely to Lodeiro in Ferrol. The painter Antón Patiño also defined him as "a slave of light, an obsessed artist, nonconformist, revolutionary and indispensable".

估价 2 800 - 3 000 EUR

编号 113 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Christ in perspective". 1972. Ink on offset paper. Signed, dated and dedicated. Measurements: 32 x 40 cm; 55 x 82 cm (frame). Original drawing on paper that Dalí made in 1972, twenty years later than his painting "Christ of St. John of the Cross", where the crucified is also seen foreshortened, from a zenithal point of view. Dalí explores in these versions ways of suggesting the celestial contemplation of Jesus' suffering, assuming the point of view of angels or a divine entity. In the 1951 painting, the title referred to the 16th century Spanish mystic and poet known for his writings on the union of the soul with God through spiritual love. The choice of this title suggests a connection between Dalí's vision of crucifixion and deep spirituality. In the 1970s, Dalí, who was always moved by a deep spirituality, resumed his plastic reflections on themes of faith, redemption, the afterlife and the divine nature. 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.

估价 4 000 - 5 000 EUR

编号 114 - JAUME PLENSA (Barcelona, 1955). "Estellés", 2017. Artist's book (homage to the poet Vicent Andrés Estellés). The book consists of an etching, twenty-three diptychs and six triptychs on handmade paper accompanied by six copper transparencies. These six pieces can be assembled as a sculptural set. In copper case designed by Jaume Plensa. Exemplary 734/999 copies Signed and numbered. Numbered copper box with Jaume Plensa's signature laser engraved. Publisher: Enciclopèdia Art, Barcelona. Deluxe edition. Measurements: 38.9 x 28.3 x 6.9 cm (copper case); 38.5 x 28 x 6.4 cm (cardboard case lined with black cloth); 25.5 x 35 cm (each engraving); 22.5 x 32 cm (copper transparencies). This Artist's Book is a tribute to the poet Vicent Andrés Estellés. Deluxe edition. The book consists of one etching, twenty-three diptychs and six triptychs on handmade paper accompanied by six copper transparencies. The book is presented in a copper case designed by Jaume Plensa. Diptychs and triptychs: texts printed with metallic magnesium etching on 120 gr. handmade paper, made of cotton and eucalyptus fibers. Etching based on Jaume Plensa's drawing, on 300gr handmade paper by Molí Paperer de Ca l'Oliver, made of cotton and eucalyptus fibers. Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.

估价 1 800 - 2 000 EUR

编号 115 - JAUME PITARCH (Barcelona, 1963). From the series "Matches", n.11. 1999-2000. Photography on baryta paper. Provenance: Gallery dels Àngels of Barcelona. Measurements: 80 x 80 cm; 81 x 81 cm (frame). Artist currently based in Barcelona, Jaume Pitarch studied 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".

估价 1 200 - 1 600 EUR

编号 116 - JAUME PITARCH (Barcelona, 1963). "Entropía de Jackson".2009. Mixed media (collage on cardboard". Provenance: Gallery dels Àngels of Barcelona. Measurements: 77 x 107 cm. This piece was part of an exhibition of the same name by Jaume Pitarch at the Àngels Barcelona gallery, in which the theme of time was treated from a new perspective both as a concept and as a plastic development. As the press release read: "Pitarch transforms mundane objects and work rituals into instruments for critical reflection. Frequently, his work consists of obstinate actions that lead to apparently absurd, unproductive, invisible or unimaginable results. This absurdity is not, however, self-indulgent: it questions the identity, socializing, and behavioral relations between man and his material production. For Pitarch, this is simply the consequence of the angst of a man lost in a web of constantly mutating social structures to which he derives all his energy in a failed attempt to belong, "to insert himself into them". The theme of time (time as that which constantly leaves us out of the game) is therefore a constant in his work. A Virilian time that is sometimes alluded to, stopped or converted into an invisible ally called process". Currently based in Barcelona, Jaume Pitarch studied 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.

估价 4 500 - 5 500 EUR

编号 117 - SOL LEWITT (Connecticut, 1928 - New York, 2007). "Not straight lines", 2003. Set of 6 etchings, issue 19/20. Hand signed and numbered by the artist. Measurements: 25 x 25 cm (u.c.); 41 x 41 cm (frames). In the "Not Straight Lines" series, LeWitt develops parallel irregular lines that play with the ambiguity between improvisation and meticulous study of patterns. Using minimalist techniques, LeWitt creates compositions that may appear simple at first glance, but reveal a complexity in the interplay of forms and spaces. LeWitt dedicated his entire oeuvre to delving conceptually and graphically into the exploration of patterns and systems through geometry and repetition. The broken lines convey a sense of fluidity and energy that we visually associate with the pulse of the hand and the emotions involved in creation. These lines thus become a kind of seismograph, a device metaphorically associated with creative intuition. An artist linked to several movements, among them conceptual art and minimal, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the fifties, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasizes that the idea, and not its physical form, is fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been related to minimalism. From 1965 LeWitt will be the subject of hundreds of solo exhibitions in museums and galleries around the world. His works include two- and three-dimensional works, from wall paintings (more than 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York dedicated his first retrospective exhibition to him. LeWitt is currently represented in that museum, as well as in the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

估价 7 000 - 8 000 EUR

编号 118 - PATRICIA DAUDER (Barcelona, 1973). "Sobreposició II (House)". 2007. Collage and color pencil on tracing paper. With label on the back from Projectes D gallery. Certificate on the back by the artist. Measurements: 90 x 120 cm. In "Sobreposició", Patricia Dauder evokes the memory linked to the domestic space. With a suggestive language close to minimalism and lyrical abstraction, Dauder experiments with form and matter as a reflection on the passage of time and the idea of space. Presence and absence, the whole and the fragment, the mass and the void, the residue and the trace, are concepts that resonate in her proposals. Trained in Fine Arts at the University of Barcelona and with stays in Holland, New York and Prague, she lives and works in Barcelona. She uses different media: drawing, sculpture, textiles, film and photography. In her work, of a markedly processual character, travel plays a prominent role, as well as the culture of the sea and the idea of nature. The artist claims more direct and essential forms of relationship with the natural environment, a claim that is embodied both in her travels and in her chromatic choices, in her physical and artisanal relationship with materials (paper, graphite, cardboard, fabrics, plaster, wood, air, earth). Dauder creates and destroys, traces and erases, adds and eliminates, until he molds refined pieces with an abstract appearance that, in their ambiguity, end up projecting multiple associations and iconographies. Since the late 1990s, his work has been exhibited in venues such as the Museu de l'Empordà in Figueres (2008), Fundació Suñol in Barcelona (2009), Museu de Serralves in Porto (2012), MARCO in Vigo (2015) and National Gallery in Prague (2018). His work can be found in collections such as the Centro Andaluz de Arte Contemporáneo in Seville, Coleçao Fundaçao Serralves in Oporto, Colección CAM de Arte Contemporáneo in Alicante, Fundació Vila Casas in Barcelona, Centro Galego de Arte Contemporánea in Santiago de Compostela, Chartwell Collection in Auckland, New Zealand and MACBA in Barcelona, among others.

估价 3 500 - 4 000 EUR

编号 119 - ALFONS BORRELL PALAZÓN (Barcelona, 1931-2020). Untitled. 1998. Mixed media on thick paper. Signed and dated. Measurements: 74 x 112 cm; 82 x 120 cm (frame). Alfons Borrell is considered one of the maximum exponents of the lyrical abstraction in Spain. In this composition the influence of Rothko and his floating color fields can be appreciated. Starting from symmetries and gestural abstractions, his work progressively simplified. With large monochrome surfaces - color has a structural protagonism in Borrell's work - often centered on a single geometric figure or on a graphic sign or dimensioning, the lyricism and austerity of this painting brings it closer to the interior or introspective landscape than to the will of representation. Born in Barcelona but settled in Sabadell since he was a child, Alfons Borrell trained in the fifties with Hermen Anglada Camarasa in Mallorca and at the Escola de Belles Arts in Barcelona. In 1960 he was part of the Grup Gallot, a collective created in Sabadell that practiced actions halfway between action painting and surrealist automatism that questioned the limits of authorship and the pictorial medium. In 1971, he participated in the creation of Sala Tres in Sabadell. A close friend of Joan Brossa and artists such as Perejaume, throughout his extensive career, his pictorial abstraction has been consolidating as an expressive corpus of great intensity and solidity. Since his first solo exhibitions in the late fifties, Borrell has presented his work in prominent art venues in the country and also in France, Germany, the United States and Japan. The art critic Alexandre Cirici invited him to participate in the inaugural exhibition of the first Museu d'Art Contemporani de Barcelona in the dome of the Coliseum Cinema in 1960. In 1978, he was part of the exhibition Seny i rauxa. 11 artistes catalans at the Centre Georges Pompidou in Paris. Among the numerous retrospectives of his work, those presented at the Centre Cultural Tecla Sala in L'Hospitalet de Llobregat (2006), the Museu d'Art de Sabadell (2007) and the Fundació Joan Miró in Barcelona (2015) stand out.

估价 3 500 - 4 500 EUR

编号 120 - PATRICIA DAUDER (Barcelona, 1973). "Untitled (Verd-vermell)".2008. Colored pencils on paper. With label on the back of the gallery Projectes D. Measurements: 91 x 124 cm. With a suggestive language close to minimalism and lyrical abstraction, Dauder experiments with form and matter as a reflection on the passage of time and the idea of space. Presence and absence, the whole and the fragment, the mass and the void, the residue and the trace, are concepts that resonate in her proposals. Trained in Fine Arts at the University of Barcelona and with stays in Holland, New York and Prague, she lives and works in Barcelona. She uses different media: drawing, sculpture, textiles, film and photography. In her work, of a markedly processual character, travel plays a prominent role, as well as the culture of the sea and the idea of nature. The artist claims more direct and essential forms of relationship with the natural environment, a claim that is embodied both in her travels and in her chromatic choices, in her physical and artisanal relationship with materials (paper, graphite, cardboard, fabrics, plaster, wood, air, earth). Dauder creates and destroys, traces and erases, adds and eliminates, until he molds refined pieces with an abstract appearance that, in their ambiguity, end up projecting multiple associations and iconographies. Since the late 1990s, his work has been exhibited in venues such as the Museu de l'Empordà in Figueres (2008), Fundació Suñol in Barcelona (2009), Museu de Serralves in Porto (2012), MARCO in Vigo (2015) and National Gallery in Prague (2018). His work can be found in collections such as the Centro Andaluz de Arte Contemporáneo in Seville, Coleçao Fundaçao Serralves in Oporto, Colección CAM de Arte Contemporáneo in Alicante, Fundació Vila Casas in Barcelona, Centro Galego de Arte Contemporánea in Santiago de Compostela, Chartwell Collection in Auckland, New Zealand and MACBA in Barcelona, among others.

估价 3 500 - 4 000 EUR

编号 121 - PATRICIA DAUDER (Barcelona, 1973). "Untitled (Paisaje gris)".2005. Charcoal on paper. With label on the back of the gallery Projectes D. Measurements: 130 x 100 cm; 150 x 120 cm (frame). Patricia Dauder often precedes the titles with the premise "Untitled", which is a declaration of intentions: not wanting to limit and direct the emotions that the viewer will feel before (in this case) a "gray landscape" (rain, leaden mood ...) With a suggestive language close to minimalism and lyrical abstraction, Dauder experiments with form and matter as a reflection on the passage of time and the idea of space. Presence and absence, the whole and the fragment, the mass and the void, the residue and the trace, are concepts that resonate in her proposals. Trained in Fine Arts at the University of Barcelona and with stays in Holland, New York and Prague, she lives and works in Barcelona. She uses different media: drawing, sculpture, textiles, film and photography. In her work, of a markedly processual character, travel plays a prominent role, as well as the culture of the sea and the idea of nature. The artist claims more direct and essential forms of relationship with the natural environment, a claim that is embodied both in her travels and in her chromatic choices, in her physical and artisanal relationship with materials (paper, graphite, cardboard, fabrics, plaster, wood, air, earth). Dauder creates and destroys, traces and erases, adds and eliminates, until he molds refined pieces with an abstract appearance that, in their ambiguity, end up projecting multiple associations and iconographies. Since the late 1990s, his work has been exhibited in venues such as the Museu de l'Empordà in Figueres (2008), Fundació Suñol in Barcelona (2009), Museu de Serralves in Porto (2012), MARCO in Vigo (2015) and National Gallery in Prague (2018). His work can be found in collections such as the Centro Andaluz de Arte Contemporáneo in Seville, Coleçao Fundaçao Serralves in Oporto, Colección CAM de Arte Contemporáneo in Alicante, Fundació Vila Casas in Barcelona, Centro Galego de Arte Contemporánea in Santiago de Compostela, Chartwell Collection in Auckland, New Zealand and MACBA in Barcelona, among others.

估价 5 000 - 5 500 EUR

编号 122 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Glissement", 1981. Etching, aquatint and carborundum, P.A. copy. Signed and justified by hand. With stamped seal of Barbará Calcografía, Barcelona. Measurements: 60 x 69 cm (print); 80,5 x 121 cm (paper). Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a grant from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and museums such as the Guggenheim in New York or the Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Prize, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

估价 2 000 - 2 200 EUR

编号 123 - LUIS FEITO LÓPEZ (Madrid, 1929-2021). Untitled. Watercolor on paper. With stamp in the lower right corner and signed in the lower left corner. Measurements: 29 x 39 cm; 42,5 x 52,5 cm (frame). Born and formed in Madrid, he was one of the founding members of the group El Paso. In 1954 he had his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the current avant-garde movements. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most relevant artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.

估价 1 500 - 1 800 EUR

编号 127 - "VILLASIERRA" MARIO VILLARROEL (Venezuela, 1970). "Fragile-yellow series", 2021. Resin. Signed on the metal base. Measurements: 70 x 24 x 28 cm. About this work the author commented "2020 was the year in which we broke, life changed us. This new series of works, "Fragile" show the scars that the pandemic has left on us. But at the same time they reflect how we have been able to put ourselves back together, to transform ourselves and become better human beings. These violins are different, stronger, better and each one of them is a unique piece of art" . Villasierra is the archetypal case of a self-taught artist who explored other fields before devoting himself to art full time. A lawyer by training, he also ventured into the world of motorcycles, making and customizing them, which became a new field of work where he explored his creativity and fostered his interest in mechanisms beyond their primary function. His artistic production began in the 1990s and since then he has produced a considerable body of work. Some of it demonstrates his interest in recycling, in giving a second chance and function to discarded objects. With this idea in mind, she goes on excursions to antique markets and accumulates an unimaginable treasure trove. From this approach and his love for music, musical instruments found a place in his work. A good example is one of his most acclaimed series, The Second Life, which he developed mainly between 2016-2018. Among the instruments used in this series are violins. Villasierra explained that the first was inspired by a political act of resistance in his native country. In 2017, a young violinist, Wuilly Arteaga, confronted the Venezuelan army, alone with his violin, during a revolt. This act of bravery moved Villasierra, who took an old violin and painted it in the colors of the flag as a tribute to the musician's bravery and as a wake-up call to what was happening in his country. To create these works he visits the music departments of public art schools and takes the discarded violins in exchange for new ones that he buys and donates to the schools. Thus, the old ones become part of his work, while the new ones he replaces in the hands of the children.

估价 4 000 - 5 000 EUR

编号 128 - "VILLASIERRA" MARIO VILLARROEL (Venezuela, 1970). "Piccolo", 2023-2024. Mixed media (burlap, trompetin, oil and metal) on board. Frame made by the author. Signed and dated in the lower right area. Signed, dated and titled on the back. Measurements: 50 x 60 x 10 cm. Villasierra is the archetypal case of a self-taught artist who explored other fields before devoting himself to art full time. A lawyer by training, he also ventured into the world of motorcycles, manufacturing and customizing them, which became a new field of work where he explored his creativity and fostered his interest in mechanisms beyond their primary function. His artistic production began in the 1990s and since then he has produced a considerable body of work. Some of it demonstrates his interest in recycling, in giving a second chance and function to discarded objects. With this idea in mind, she goes on excursions to antique markets and accumulates an unimaginable treasure trove. From this approach and his love for music, musical instruments found a place in his work. A good example is one of his most acclaimed series, The Second Life, which he developed mainly between 2016-2018. Among the instruments used in this series are violins. Villasierra explained that the first was inspired by a political act of resistance in his native country. In 2017, a young violinist, Wuilly Arteaga, confronted the Venezuelan army, alone with his violin, during a revolt. This act of bravery moved Villasierra, who took an old violin and painted it in the colors of the flag as a tribute to the musician's bravery and as a wake-up call to what was happening in his country. To create these works he visits the music departments of public art schools and takes the discarded violins in exchange for new ones that he buys and donates to the schools. Thus, the old ones become part of his work, while the new ones he replaces in the hands of the children.

估价 3 500 - 4 000 EUR

编号 130 - FERNANDO GARCIA PONCE (Mérida, Yucatán, 1933 - Mexico City, 1987) Untitled. Oil and collage on canvas. Measurements: 76 x 115 cm. Provenance: Maria Lluisa Borrás Collection, Barcelona. Fernando García Ponce belongs to the generation of the late fifties called the "Generation of the Rupture", since his proposal marked a total distance with the so-called Mexican School. Thus, expressions such as geometrism, abstraction, informalism, neo-figurative, which were almost forbidden artistic expressions in the 60's, began to dominate the art scene. He was born on August 25, 1933 in Merida, Yucatan. When he was 11 years old, his family moved to the capital of the country. In 1952 he entered the National Autonomous University of Mexico to study architecture; he also attended the workshop of the Valencian painter Enrique Climent, who recognized his talent and, although he did not devote himself to teaching, decided to become his teacher. His first paintings date from 1954, they are family portraits, however, two years later, geometry increases significantly in his works. In 1957 he made several trips to Europe and decided to leave architecture to devote himself completely to painting. His first individual exhibition was at the Galería de Arte Mexicano (1959), with 26 oil paintings of still life; in 1960 he made an abstract composition entitled No. 1, a watershed that definitely marks his work. With a series of collages he receives an honorable mention in the Salón de la Plástica Mexicana. In the sixties the term Ruptura arises, which defines a generational group of artists, to which Fernando García Ponce belongs and which marked the new Mexican painting. García Ponce participates again in the Galería de Arte Mexicano and in the Colectiva de Pintura Contemporánea de México y América del Sur (1961). Two years later his painting is already totally abstract and he exhibits 14 works at the Juan Martin Gallery. He also participates in the Colectiva de Arte Actual de América y España, held in Madrid. By 1974 his painting reveals the will to synthesize the cold geometric order. During the summer of 1976 García Ponce travels with his wife Denise and his son Esteban to Paris, then spends a season in Barcelona, where he makes two graphic folders containing 10 serigraphs and 12 lithographs. Upon his return to Mexico, the Museum of Modern Art (1978) organizes a large exhibition of 40 works produced between 1977 and 1978. A year after this event, his wife Denise dies tragically, however, Garcia Ponce remains concentrated and his creativity remains intact; the painting of those years is powerful and extremely inspired. He regularly presents his annual exhibition at the Ponce Gallery and participates in group exhibitions at the Casa de las Americas (Cuba), the Picasso Museum (Antibes, France), the Jornadas Culturales de Colombia, the Carnegie Institute in Pittsburg (USA) and the National Art Center in Ottawa (Canada), among others. At 54 years of age and considered one of the most important artists of the national plastic arts, García Ponce died in his studio (July 11, 1987) of a myocardial infarction.

估价 10 000 - 12 000 EUR

编号 131 - OSWALDO GUAYASAMÍN (Quito, Ecuador, 1919 - Baltimore, USA, 1999). "Portrait", 1984. Mixed media on paper. Signed, dedicated and dated in the lower margin. Measurements: 76 x 56 cm; 94 x 74 cm (frame). One of the greatest names in Ecuadorian painting, Oswaldo Guayasamín demonstrated artistic gifts already in childhood, and even sold some paintings in the Plaza de la Independencia in his native Quito in his early years. Despite his father's opposition, he entered the School of Fine Arts in the Ecuadorian capital to study painting and sculpture, in the midst of the so-called Four Days' War. In 1941 he obtained the title and the First Prize at the Mariano Aguilera Salon in Quito, and the following year he held his first solo exhibition, at the age of twenty-three. Between the end of 1942 and the beginning of 1943 Guayasamín is in the United States, and later travels to Mexico, where he begins to work as an assistant to Orozco. He would later make a series of trips through Latin America, always finding the same situation of oppression of the indigenous society, to which he himself belonged. From then on, this will be a constant theme in his work. In these years of youth Guayasamín obtained all the National Prizes in his country, and at the age of thirty-six he won the Grand Prize of the III Bienal Hispanoamericana de Arte, celebrated in 1955 in Barcelona. Later he also won the same award at the São Paulo Biennial (1957). Throughout his career, this master exhibited his work individually not only in various Latin American countries, but also in many European countries, the Soviet Union, China and the United States. In addition to his easel paintings, he painted murals, sculptures and monuments, now present in Latin America and Europe. In 1971 Guayasamín was named president of the Casa de la Cultura Ecuatoriana, in 1978 a member of the Real Academia de Bellas Artes de San Fernando in Madrid, and a year later an honorary member of the Italian Academy of Arts. Currently his work is widely represented in the Foundation he created in Quito, and also in prominent international art galleries and private collections.

估价 5 000 - 6 000 EUR

编号 132 - PETER LIK (Australia, 1959). "Ocean glow". Photograph. Limited edition, copy 347/950. Framed in methacrylate. Signed and with holographic seal of the artist on the back. Measurements: 65,5 x 99,5 cm. Ocean Glow is a view of Maui, Hawaii, a work that the artist has described as follows: "Immersing myself in the ocean brought me closer to the soul of Mother Nature. Like a surfer, I was glued to the surf report for two weeks waiting for something to happen, waiting for the perfect wave. The colors of the sunrise were the key to this photo: I wanted the kaleidoscope to be reflected in the wave. Finally a swell was predicted. That night I gathered my gear and tried to sleep. This new experience was like my first shoot: I barely slept a wink. When the sun came up, my expectations were high: I knew the photo was there. After hours of Mother Nature beating me in the waves, I shot wave after wave like a madman: it was an addiction." Peter Lik is an Australian photographer known for his images of nature and panoramic landscapes. He hosted the program From the Edge with Peter Lik, which aired for one season on The Weather Channel. Lik was born in Melbourne to Czech parents who emigrated to Australia after World War II. He took his first photo at age 8, when his parents gave him a Kodak Brownie camera for his birthday. In his youth, Lik took his camera on family vacations and photographed country scenes and the ocean. This practice continued on his road trips out of town and into the Australian wilderness, often accompanied by his friend and fellow photographer Michael Plumridge. As a photographer, Lik is self-taught, learning mostly by trial and error. In 1984, Lik made his first trip to the United States, touring the country for a year in an old van. While in Alaska, he was introduced to panoramic cameras and large format photography. Upon his return to Australia, he continued to experiment with the panoramic format. In 1989, Lik returned to the United States and undertook a project to photograph landscapes in all 50 states. He sold some of the photos for use in calendars and postcards. Later, photos from the project were compiled into his 2003 tabletop book, Spirit of America.In the early 1990s, Lik worked for the Queensland (Australia) Department of Tourism, traveling in the Outback and photographing little-known areas. In 1994, he moved to Las Vegas, Nevada, where he opened Lik USA, which includes a workshop for printing and framing his photos. In the mid-1990s, he founded his own publishing company, Lik Publishing. After winning the Art in Nature category of the 2010 Windland Smith Rice International Windland Smith Rice Awards for Best Nature Photography, "Ghost" (taken in Antelope Canyon, Arizona) was selected as part of a May 2011 exhibition of nature photography at the Smithsonian Institution's National Museum of Natural History in Washington, D.C.

估价 4 000 - 5 000 EUR

编号 133 - JAN VALDÉS TÉLLEZ (Cuba, 1979). "Hot dog", 2022-2023. Oil on canvas (triptych). Attached certificate of authenticity issued by the artist. Signed, dated and titled on the back. Measurements: 90 x 60 cm (x3); 90 x 180 cm (total). "Hot Dog" encapsulates the essence of contemporary life through the imaginative lens of Jan Valdes Tellez. The interconnection of scenarios creates a unique visual narrative that defies convention and celebrates the diversity of human experience. This triptych, part of the "3X2" series, first plays with the visuality of David Hockney and his idyllic constructions of California life. Jan Valdes Tellez, makes the aesthetics of the British master his own, and introduces in this paradise "the chaos factor". The triptych that reveals itself irreverent, in the apparent tranquility of the American dream, we are presented with hints of human drives, narrating an almost cinematographic story. The scene, captured with a direct and uninhibited gaze, fresh in its composition and in the choice of the chromatic palette, becomes a bold affirmation of the impulsive and free nature of life. The canvas does not skimp on humorous details, from cynicism, once again, the joy of living is celebrated. Jan Valdés Téllez is an artist of Cuban origin who currently resides in Madrid. He began his academic training at the Academia Nacional de Bellas Artes de San Alejandro in Havana, where he graduated in 2004. His works have been exhibited internationally, notably at the Toronto Art Fair, Canada, the Ludwin Foundation and the Fivars Galleries, Spain, among others. Certificate of authenticity issued by the artist is attached.

估价 5 000 - 6 000 EUR

编号 134 - "VILLASIERRA" MARIO VILLARROEL (Venezuela, 1970). "Lacerations", 2023. Mixed media (resin, marble dust and oil) on canvas. Framed with museum glass. Signed and dated in the lower right corner. Measurements: 150 x 110 cm; 175 x 135 cm (frame). Villasierra is the archetypal case of a self-taught artist who explored other fields before devoting himself to art full time. A lawyer by training, he also ventured into the world of motorcycles, making and customizing them, which became a new field of work where he explored his creativity and fostered his interest in mechanisms beyond their primary function. His artistic production began in the 1990s and since then he has produced a considerable body of work. Some of it demonstrates his interest in recycling, in giving a second chance and function to discarded objects. With this idea in mind, she goes on excursions to antique markets and accumulates an unimaginable treasure trove. From this approach and his love for music, musical instruments found a place in his work. A good example is one of his most acclaimed series, The Second Life, which he developed mainly between 2016-2018. Among the instruments used in this series are violins. Villasierra explained that the first was inspired by a political act of resistance in his native country. In 2017, a young violinist, Wuilly Arteaga, confronted the Venezuelan army, alone with his violin, during a revolt. This act of bravery moved Villasierra, who took an old violin and painted it in the colors of the flag as a tribute to the musician's bravery and as a wake-up call to what was happening in his country. To create these works he visits the music departments of public art schools and takes the discarded violins in exchange for new ones that he buys and donates to the schools. Thus, the old ones become part of his work, while the new ones he replaces in the hands of the children.

估价 8 000 - 10 000 EUR

编号 135 - DAMIEN HIRST (Bristol, UK, 1965). "Circle spin Painting", 2009. Acrylic on cardboard. Stamped on the back. Measurements: 52 cm (diameter). This work was conceived for the exhibition "Requiem", held at PinchukArtCentre, Kiev, Ukraine, in 2009. The exhibition included over 100 works by the artist, such as 'A Thousand Years' (1990), 'With Dead Head' (1991) and 'Loving in a World of Desire' (1996), 'Requiem' presented the first exhibition of works from Hirst's series of oil paintings on canvas, which had begun in 2006. The "Spin paintings" are based on a novel technique of placing the canvas on a rapidly rotating device while the artist applies the paint from different angles and distances. The rotating movement of the canvas generates unexpected patterns and effects on the surface, creating colorful and dynamic compositions. These paintings are known for capturing the movement and energy in the process of creation, and reflect Hirst's postmodern aesthetic that challenges the traditional conventions of art. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. 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 time, 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 like "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".

估价 4 000 - 5 000 EUR

编号 136 - DAMIEN HIRST (Bristol, United Kingdom, 1965). "Star, Spin painting".2009. Acrylic on cardboard. Hand signed by the artist. Stamp on the back. Measurements: 54,6 x 54,5 cm. Work made on April 24, 2009 on the occasion of the opening of the exhibition "Requiem" at The Pinchuck Art Centre in Kiev. Damien Hirst began making spin paintings in 1994, when the artist was able to see the operation of a spinning machine while living in Berlin. Later that year a series of his spinning machine drawings was exhibited at Bruno Brunnet Contemporary Fine Arts, Berlin. Stars, along with butterflies and skulls, are recurring motifs in which he applies this technique, consisting of placing the canvas on a rapidly rotating device, while the artist applies the paint from different angles and distances. The rotating movement of the canvas generates unexpected patterns and effects on the surface, creating colorful and dynamic compositions. These paintings are known for capturing the movement and energy in the process of creation, and reflect Hirst's postmodern aesthetic that challenges the traditional conventions of art. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art is classless. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later abandoned to move to London. During this time he was working in construction and in turn applying to various art schools such as St Martins, or the faculty of Wales. He was finally accepted at Golsdmiths College, which, at the same time, and due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of studies, Hirst, acquired the role of artist and curator, and managed to make an exhibition that would change the course of British art, it was his first solo exhibition with only 26 years. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had no place left to exhibit, he had done it all and too fast. So soon the media baptized him with the name Hooligan Genius. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspicious; wrapped in an aura of romanticism, he managed to revolutionize the art world as if it were 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.

估价 4 000 - 5 000 EUR

编号 137 - DAMIEN HIRST (Bristol, UK, 1965). "Skull spin Painting", 2009. Acrylic on cardboard. Work conceived for the exhibition "Requiem" held at PinchukArtCentre, Kiev. Stamp on the back. Measurements: 71 x 52 cm. This work was conceived for the exhibition "Requiem", held at PinchukArtCentre (Kiev, Ukraine) in 2009. The exhibition included over 100 works by the artist, such as 'A Thousand Years' (1990), 'With Dead Head' (1991) and 'Loving in a World of Desire' (1996), 'Requiem' presented the first exhibition of works from Hirst's series of oil paintings on canvas, which had begun in 2006. In this piece, two very recurrent elements in Hirst's work can be appreciated: the spin painting technique, and the presence of the skull. Death (in its difficulty to be thought) is the central theme of his work. He is best known for his Natural History series, in which dead animals are preserved, sometimes dissected, in formaldehyde. He is also known for his "spin paintings", such as the one shown here, made on a rotating circular surface. The spin paintings are abstract paintings produced using a unique technique: the canvas is placed on a rapidly rotating device, while the artist applies the paint from different angles and distances. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. 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 time, 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.

估价 4 000 - 5 000 EUR

编号 138 - DAMIEN HIRST (Bristol, UK, 1965). "Circle spin Painting", 2009. Acrylic on cardboard. Stamped on the back. Measurements: 52 cm (diameter). This work was conceived for the exhibition "Requiem", held at PinchukArtCentre, Kiev, Ukraine, in 2009. The exhibition included over 100 works by the artist, such as 'A Thousand Years' (1990), 'With Dead Head' (1991) and 'Loving in a World of Desire' (1996), 'Requiem' presented the first exhibition of works from Hirst's series of oil paintings on canvas, which had begun in 2006. The "Spin paintings" are based on a novel technique of placing the canvas on a rapidly rotating device while the artist applies the paint from different angles and distances. The rotating movement of the canvas generates unexpected patterns and effects on the surface, creating colorful and dynamic compositions. These paintings are known for capturing the movement and energy in the process of creation, and reflect Hirst's postmodern aesthetic that challenges the traditional conventions of art. Damien Hirst was born in Bristol on June 7, 1965, in an economically challenged suburban environment. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to be educated from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. 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 time, 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 like "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".

估价 4 000 - 5 000 EUR

编号 139 - ANTONIO DE FELIPE (Valencia, 1965). "Sexhollywood- blue background". Acrylic on canvas. Signed in the lower right corner. Work registered on the artist's website. Measurements: 81 x 100 cm. Graduated in Fine Arts at the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative in an advertising agency, a fact that will undoubtedly mark what will be his pictorial style in the future. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", together with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the colour, loud and provocative, as well as the subject matter, very simple and direct. His creative facet has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as creating continuity bumpers for Telemadrid or designing tableware for the firm Santa Clara. He has collaborated on posters, album covers and in important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career, he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation in New Orleans, the Testimoni de La Caixa, Carmen Thyssen-Bornemisza and Kneip Collections in Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. In addition to this national and international presence, it has also participated in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg and KIAF (Korea International Art Fair), which are benchmarks for the latest artistic trends.

估价 3 400 - 3 800 EUR

编号 140 - ANTONIO DE FELIPE (Valencia, 1965). "Sara I". Acrylic on canvas. Signed in the lower right corner. Measurements: 200 x 200 cm. Work in which we can see how the artist has reinterpreted in pop key, a photograph of Sara Montiel. This photograph was chosen as the cover for issue 308 of Careta magazine in 1960. A graduate in Fine Arts from the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative artist in an advertising agency, a fact that would undoubtedly mark his future pictorial style. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", together with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the colour, loud and provocative, as well as the subject matter, very simple and direct. His creative facet has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as creating continuity bumpers for Telemadrid or designing tableware for the firm Santa Clara. He has collaborated on posters, album covers and in important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career, he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation in New Orleans, the Testimoni de La Caixa, Carmen Thyssen-Bornemisza and Kneip Collections in Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. In addition to this national and international presence, it has also participated in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg and KIAF (Korea International Art Fair), which are benchmarks for the latest artistic trends.

估价 3 000 - 4 000 EUR

编号 141 - ANTONIO DE FELIPE (Valencia, 1965). "Marilyn". Acrylic on canvas. Signed in the lower right corner. Measurements: 80 x 80 cm. Graduated in Fine Arts at the University of San Carlos Valencia, Antonio de Felipe began his career working as a creative in an advertising agency, a fact that undoubtedly will mark what will be his pictorial style in the future. He is considered a Pop artist - or more specifically, part of the movement "Les noveaux Pop", along with other international artists linked to the Pop world - in the broadest sense of the word, developing his extensive work in different series (Logotypes, Cows, Cinemaspop, Popsport, among others) always maintaining a completely plastic and visual aesthetic, clear, addressing the common society. Fundamental is the color, garish and provocative, as well as the subject matter, very simple and direct. His facet as a creative has led him to collaborate with Pedro Almodóvar in the film "Carne Trémula", as well as to create continuity bumpers for Telemadrid or design tableware for the firm Santa Clara. He has collaborated on posters, album covers and important publications such as ByN Dominical (ABC's Sunday magazine), El País, El Magazine del diario El Mundo, Marie Claire, ELLE, Qué leer, and Rolling Stone magazine, among others. In his more than twenty years of intense professional career he has held more than ninety solo exhibitions, both in Spain and abroad, and as many group exhibitions. He is currently represented in the Reina Sofía Museum, the IVAM, the Sidney Besthoff Foundation of New Orleans, the Testimoni Collections of La Caixa, Carmen Thyssen-Bornemisza and Kneip of Luxembourg and the Montblanc Cultural Foundation, among other public and private collections in Spain and abroad. To this national and international presence is added its participation in fairs such as ARCO, ART COLOGNE, ART PARIS, ART BRUSSELS, ST-ART Strasbourg, or KIAF (Korea International Art Fair), reference frameworks to know the latest artistic trends.

估价 1 800 - 2 000 EUR

编号 142 - JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984). "Suite Caps. Brazil,1958-1959 Pencil and ink on paper Signed, dated and located in the lower left corner. Work referenced in the online catalog raisonné no. 3380 With label on the back of the gallery Dau al Set. Measurements: 70 x 50,5 cm, 87 x 67 cm (frame). Ponç made the series "Caps" in his Brazilian stage, country to which he took refuge to flee from Franco's regime. The drawings of the Suite are fragments of more or less dreamlike physiognomies (sometimes accompanied by birds), always endowed with a poetic aura. Painter and draftsman, he trained in Barcelona, in the workshop of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After dedicating himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Art Gallery of Bilbao, which was to be his definitive consolidation within the national artistic panorama. In 1948 he founded, together with Tharrats, Puig, Cuixart, Tàpies and Brossa among others, the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he participated in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and was able to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, with such success that the organization acquired all of the works. In Brazil he visited the equatorial jungles, where he was impressed by the fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to an illness, as a fully consecrated artist, he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and several Spanish cities. In 1965 he won the International Drawing Grand Prize at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are at the same time painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). In his work Ponç manifests himself as a sorcerer artist, who conceives art as magic, as an extraordinary power, a spell, something supernatural.

估价 3 000 - 4 000 EUR

编号 144 - ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998). "Moi. 1976. Silkscreen, copy 16/60. Signed and justified in pencil. Measurements: 102 x 73'5 cm. 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 made his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works, and that same year he visited Paris for the first time, settling in the city. There his work was influenced by artists such as Miró and Man Ray, and he dedicated himself to making paintings on canvas and paper of an organic nature, using various techniques. The break with the surrealist group allows him to open up to other ways of creation, where he begins to show the evolution that his work is undergoing, which moves towards an instantaneous painting of gestural strokes and reduced palette of selective character, where informalism plays the absent-mindedness between suggestive expressions of line and color. He made his debut in Paris in 1957, at the Stadler Gallery, the same year he founded the El Paso group. The following year he took part in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he received the Guggenheim Prize in New York, and in 1963 his first retrospectives were held at the Stedelijk Museum in Eindhoven, the Rotterdamsche Kunstring and the museums of Buenos Aires and Rio de Janeiro (works on paper). Saura's retrospective exhibitions are repeated throughout his career, both in Spain and in Europe and America. In 1966 he 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 works and spends every summer in Cuenca, a fundamental pillar of his production since his early years. He is represented in the most important national and international contemporary art museums, including the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London.

估价 1 600 - 1 800 EUR

编号 145 - Equipo Crónica (Valencia, 1964 - 1981). "Nude descending the stairs", 1971. Silkscreen on paper, H.C. copy. Signed and justified. Publisher Gustavo Gili, Barcelona. Measurements: 100 x 70 cm. To the mythical "Nude descending the stairs" by Duchamp, Equipo Crónica places a band on the chest where its colors show the Spanish flag. In addition, they dispense with the original background and introduce their own context showing a palatial interior. 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 goals. 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 style involved a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. 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, especially newspaper photographs. 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.

估价 2 500 - 3 000 EUR

编号 149 - JAVIER PAGOLA (San Sebastian, 1955). Untitled, 2004 and 2007. Inks on paper (x2). Signed and dated in the lower right corner. Measurements: 28 x 40 cm; 42 x 54 cm (frame); 40 x 28 cm; 54 x 42 cm (frame). He studies Architecture at the Escuela Técnica Superior de Arquitectura de Madrid, between 1974 and 1978. Later he settled in Cuenca, where he devoted himself to painting. Throughout his career he has been awarded several scholarships; in 1993 he obtained an Endesa scholarship for Plastic Arts, in 1997 a scholarship from the Academy of Fine Arts in Rome and in 1999 a scholarship for Plastic Arts from the Marcelino Botín Foundation. To his pictorial work must be added his work in the field of illustration of books such as Gargantua by Rabelais and incursions into the world of printmaking. His creative personality keeps him away from specific groups and movements. His work is based on the mastery of drawing, and in it we can observe an evolution from the gestural application of the stroke in line with abstract expressionism to the use, in the nineties, of a playful iconography. These characters, which are somewhere between the surrealist and childish worlds, populate the entire surface of the canvas in an anarchic way and some authors see in them an inspiration coming from the world of comics. He has had numerous solo exhibitions since he first did so in 1980 at the Ikusmira Gallery in San Sebastian. He also participates in important collective exhibitions and is present in the editions of Estampa'95 and 96 and Arco'94, 98, 2000, 2003. He has also been for years main draftsman in national presses, ABC, El PIS, and other publications. He is currently represented in collections such as the MNCA Reina Sofía and the Fine Arts Museums of Rome and Alava, Ars Fundum Gestión, S.L., Pamplona City Hall - Contemporary Art Collection, Centro de Arte Dos de Mayo (CA2M), among others.

估价 300 - 350 EUR

编号 151 - HENRI GÖETZ (United States, 1909 - France, 1989). "Composition", 1978. Mixed media on paper. Signed and dated in the lower left corner. Measurements: 28 x 37 cm; 30 x 39 cm (frame). French-American painter and engraver, Henri Goetz is as well known for his work as for his invention of the carborundum engraving process, a procedure that uses carbon silicide as an abrasive. Born in New York, he began to draw as a child, feeling frustrated by the clumsiness of his drawings. He later began his training at the Grand Central School of Art in New York, and after finishing his studies there, in 1930 he went to Paris to broaden his knowledge. In the French capital he attended courses at the Colarossi, Julian and Grande Chaumière Academies, where he met his wife, the Dutch painter Christine Boumeester, born in Java. During these years Goetz already developed a personal surrealist style, which influenced his wife's work. In 1934, thanks to his friend Victor Bauer, an Austrian artist, Goetz held his first solo exhibition in London. It was also at this time that he met Hans Hartung, who introduced him to his circle of friends. Through him he comes into contact with Fernand Léger and Wassily Kandinsky. In 1937 he had his first exhibition in Paris, at the Bonaparte Gallery. After the outbreak of the Second World War, Goetz and his wife will collaborate with the French Resistance printing pamphlets and posters, although their main occupation will be to create identity cards. In 1939 Goetz, Christian Dotremont and Raoul Ubac created "La Main à Plume", the first surrealist publication under the occupation. After the war, Goetz devoted himself to visiting the studio of a different artist every week, and thus met Picasso, Brancusi, Julio Gonzalez, Picabia and Max Ernst. In 1947 he became the protagonist of Alain Resnais' short film "Portrait de Henri Goetz", made for the Musée National d'Art Moderne. Two years later, he began teaching, first independently and then at the Académie Ranson. Later he will also teach at the Grande Chaumière, and finally he will found his own academy, although he never charged for his lessons. In the meantime, he continued to exhibit his work in prominent European galleries. In 1968 he accepted a teaching position at the Ecole des Beaux-Arts in Paris, but when the school closed due to student strikes two weeks later he moved to the University Paris 8. That same year his wife became ill, and three years later she died. After her death Goetz came across her diaries, which he published in a book with a foreword by himself. After being hospitalized for illness, the artist committed suicide by jumping from a window on the fifth floor of the hospital in Nice in 1989. He is currently represented at the Goetz-Boumeester Museum in Villefranche-sur-Mer, on the French Riviera, as well as at the Centre Georges Pompidou in Paris, the Miró Foundation in Barcelona, the San Francisco Museum of Art, the French State Museum, the Budapest Museum, the National Museum of Modern Art in Brussels and many others around the world.

估价 800 - 1 000 EUR

编号 152 - ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "Cistell", 1991. Aquatint and silkscreen, copy 15/30. Signed and numbered in pencil. Measurements: 91 x 62 cm; 100 x 72 cm (frame). Co-founder of "Dau al Set" in 1948, Tàpies begins to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both collective and individual, were held all over the world, in outstanding galleries and in museums such as the Guggenheim in New York or the Modern Art Museum in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great importance to the material substratum of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prix de Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

估价 2 500 - 3 000 EUR

编号 153 - BERTA JAYO (Santander, 1971). "Purple canvas with holes", 2003. Mixed media on canvas. Presents label of the gallery Siboney (Santander). Measurements: 195 x 195 cm. In this large format work, the artist perforates the support, introducing in the work a vacuum that allows the viewer to see behind these holes. Thus rethinking a two-dimensional object through space, giving it elements of sculpture, such as the interaction of the object with the contextual space in an active way. These large moles, are a resource widely used in the work of Berta Jayo, who through her performances, or series such as "Portraits and clothes", presents to the viewer this pattern so associated with Spain, but from a contemporary point of view that reflects on identity and tradition. Berta Jayo is a multidisciplinary artist who began her studies in Fine Arts at the University of Bilbao, where she graduated with honors. She later pursued postgraduate and master's studies in Fine Arts at the Chelsea College of Art and Design in London. She has participated in numerous programs such as ISCP (International studio and Curational Program) New York. As described on her website she is a non-conformist, critical and talented creator in continuous evolution whose clearest language is conceptual art developed in a wide variety of media. Her clear and concise ideas encourage reflection, which also disturbs and provokes our intellect. His original projects, charged with power, awaken our anesthetized and banal existence to offer us his visions of life far from stereotypes. His work has been exhibited in many countries and has been shown at International Art Fairs such as ARCO Madrid, SWAB Barcelona, FRIEZE London, PULSE New York, Art BASEL Switzerland, 57th Venice Biennale, Documenta 14 Kassel Germany, in International Festivals like Video Screen Festival in Berlin or New Media Festival HACS Miami, in public spaces or Museums like MAM RD, MAS, The Chill Concept Museum Miami, CAC Malaga, CAM Naples, Bronx Museum NYC, Reina Sofia, Tate Modern, Guggenheim Bilbao, MoMA, Louvre Paris. Other relevant exhibitions are: 'Exquisite Doll Kit' Mexico itinerant, 'Artistas del siglo XX y XXI', itinerant, Sala Robayera, 'Ellas' Madrid, itinerant, Void + Tokyo, Japan. Presents label of the Siboney Gallery (Santander).

估价 1 000 - 1 200 EUR

编号 154 - ROBERTO MATTA (Santiago de Chile, 1911 - Civitavecchia, Italy, 2002). Untitled. Etching on paper, copy 49/75. Signed and justified by hand. Size: 38.5 x 29.5 cm (print); 67 x 50 cm (paper); 81.5 x 65.5 cm (frame). Roberto Matta was an architect, poet, humanist and painter, whose works of surrealist and metaphysical inspiration illustrate a dreamlike world linked to modern technological civilisation. The son of a large family with a tendency towards the artistic world, greatly influenced by his maternal grandfather, he trained as an architect in Santiago de Chile and with Le Corbusier in Paris between 1934 and 1935, where he became friends with the painter Marcel Duchamp and Pablo Picasso. At the outbreak of World War II he moved to the United States, where he lived in New York from 1939 to 1948. There he met André Breton, Max Ernst, Yves Tanguy and André Masson, and his style had a decisive influence on the formulation of American Abstract Expressionism. Matta devoted himself to works in which he repeated depictions of volcanoes and earthquakes, all of them under the theme of the cosmic creation of nature. Matta's work added new dimensions to contemporary painting, despite his break - for unknown reasons - with the Surrealist movement in 1947. Settling in Rome, he continued to evolve his career during the 1950s. He travelled to South America, portraying and capturing the essence of the native peoples. Although he rejoined the surrealist world in 1959, he experimented with different forms of artistic expression, including video productions such as "Système 88", photography and other means of expression. In 1967 he moved to Tarquinia, Italy, varying his residence in long stays in Paris, London and New York. In 1971 he worked on a revolutionary air art, executing collective murals in the commune of La Granja. He is represented in the world's leading modern art galleries, such as the MoMA and the Metropolitan in New York, the Thyssen-Bornemisza and the Tate Gallery in London. Matta's style led him to become one of the most important artists of the 20th century, receiving high international distinctions including the National Art Prize from the Chilean Government.

估价 1 200 - 1 300 EUR

编号 155 - YVAN SALOMONE (Saint-Malo, France, 1957). "The tugboat", 1996. Watercolor on paper. It has a label on the back of the Sollertis Gallery, Toulouse. Damaged on the back cover. Measurements: 100 x 141 cm; 104 x 145 cm (frame). Yvan Salomone was born in 1957 in Saint-Malo, where he lives and works, in 1991, Yvan Salomone fixes the frame of his practice and devotes himself to watercolor painting by composing on identical formats. He paints in his studio from preliminary photographs taken that he interprets freely. Thus, the representation of raw materials (containers, cement, steel, etc.) conflicts with the lightness of the watercolors and undergoes a metamorphosis to create the singular character of his compositions. In many cases, as in this particular work, Salomone depicts port scenes devoid of any human presence, a motif that remains central to his work. Yvan Salomone's work has been exhibited in several European institutions such as the Centre Pompidou in Paris (France), Mac Val, Cité de l'architecture, Musée d'art moderne et contemporain de Strasbourg, La Criée - Centre d'art contemporain (Rennes), Mamco (Geneva), Witte de With (Rotterdam), Musée de la Chaux-de-Fonds (Switzerland), and several FRACs, to name a few. His work can also be found in numerous public and private collections including: Centre Pompidou, FMAC, Mac Val, FRAC Bretagne, Haute Normandie, PACA, Picardie, Limousin, Poitou-Charentes, Île-de-France, Auvergne, Pays de la Loire, Languedoc-Rousillon, Fonds Municipal de la Ville de Paris, Collection Société Générale, MAM- CO, Museu Coleçao Berardo (Lisbon), and Witte de With (Rotterdam). It has a label on the back of the Sollertis Gallery, Toulouse. Damage on the back cover.

估价 5 000 - 6 000 EUR

编号 156 - JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 2005. Mixed media (oil and assemblage) on canvas. Signed and dated. Provenance; Private collection Measurements: 154,5 x 120 x 5 cm. The use of assemblage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings in his last period. He returns to his informalist beginnings, but enriches them by investigating the effects of different procedures on unorthodox supports. The strong contrast between blacks, reds, and whites, curled like unleashed waves, suggest storms and other phenomena in which nature reveals itself in all its fervor. Guinovart abstracted from the observation of nature and reflection on the physical properties of painting a unique visual language. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He 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.

估价 8 000 - 9 000 EUR

编号 157 - PABLO PICASSO (Malaga,1881-Mougins,1973). "La Celestina" illustrated by Pablo Picasso. Enclosed book of "La Celestina" and book of studies. Limited edition, copy 2370/2998. With aluminum cover. Publisher: Artika Measurements: 33 x 33 cm (La Celestina); 33 x 33 cm (study book); 35,5 x 35,5 cm (aluminum case); 44,7 mx 44,7 cm (case). This is a limited edition that includes the 66 original "artist's proofs", approved by Picasso, of Suite 347 preserved in the Bancaja Foundation collection. Bound in soft cardboard wrapped in silk paper. It is accompanied by the book of studies, which opens the doors to the enjoyment and knowledge of two beautiful artistic compositions: the tragicomedy of the sixteenth century and the engravings of the twentieth century. The extraordinary literary work attributed to Fernando de Rojas is treated by Antonio Prieto in an article illustrated with reproductions of the woodcuts that accompanied the Valencia edition of 1514, thanks to the collaboration of the National Library of Spain, Madrid, which preserves the originals. The engravings of this edition, and with them the gigantic figure of its creator and his work throughout a turbulent 20th century, show all their value in the hands of specialists such as Pere Gimferrer, Brigitte Leal, Kosme de Barañano and Lourdes Cirlot, who open our eyes with their detailed comments on each of the 66 engravings of the edition. Both the copy of La Celestina and the book of Studies are kept in an aluminum case, which in turn is kept in a blue cloth box-case, with a photo of the brilliant artist inside.

估价 600 - 800 EUR

编号 158 - SALVADOR DALÍ I DOMÈNECH (Figueres, Girona, 1904 - 1989). "Montaigne's Essays illustrated by Salvador Dalí", 2006. Book of selected texts with 37 drawings and book of studies. Enclosed 15 numbered plates with stamp of the Gala Dalí Foundation. Limited edition 2250/2990 Publisher: Artika Measurements: 30.3 x 36.7 cm (folder of plates); 30.3 x 36.7 cm (study book); 30 x 36.7 cm (essays); 34.1 x 41.5 x 9 cm (slipcase). This work reveals the drawings made by Salvador Dalí to illustrate the work of the French thinker Michel de Montaigne. An important figure of the 16th century, he was the first to use the term Essay to describe a series of writings in which he reflected on the world in which he lived. Dalí, captivated by the French nobleman, selected and illustrated 21 chapters of his work, where Montaigne's values, thoughts and philosophy are compiled. In the book of Essays, bound in copper-colored silk, Dalí offers us his particular vision and ideas on the selected texts through 37 drawings. A collection of 15 plates -in Indian ink and watercolor- are presented in an elegant folder, all of them numbered and with the seal of the Gala-Salvador Dalí Foundation, which guarantees the facsimile reproduction. The work is complemented by a book of studies that allows us to delve deeper into the work of Montaigne and Dalí, and takes us into the creation of this new literary genre. An indispensable analysis with a clear and concise language that brings the reader closer to the artist's illustrations, thus allowing us to enjoy this jewel of collecting.

估价 800 - 1 000 EUR

编号 159 - MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957). "Chauvet. Cahier de félins". Art book, artist's book and numbered plate signed by the artist. Copy 423/2998. Publisher: Artika Maple wood case. Measurements: 43 x 33 cm (art book and study book); 88 x 33 cm (folder with plate); 49 x 37 x 5,5 cm (box). "Cahier de félins" is a tribute to the Chauvet caves. Unique edition, limited and numbered to 2998 copies, this being the number 1932 signed by the artist. The work consists of a maple wood case with a reproduction of an original by Miguel Barceló in pyrography technique, a facsimile reproduction of the Cahier de félins owned by the artist, a book about the discovery of the Chauvet cave and a numbered plate with a reproduction of one of the felines from the Cahier. Tintoretto Gesso paper of 200 gr.Cover in cotton canvas with an original printed exclusively by Barceló. Painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Picarol Gallery in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovers the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as the "art brut", a style that will exert an important influence on his first paintings. During these years he reads extensively, and enriches himself with works as diverse as the writings of Breton and the surrealists, the "White Manifesto" by Lucio Fontana or the "Social History of Literature and Art" by Arnold Hauser. In 1976 he holds his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural events. In 1977 he makes a second trip to Paris, and also visits London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who will become one of his best friends in the city. Together with him and the photographer Antoni Catany he participates, as a member of the group "Neón de Suro", in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 when he received his first large-format pictorial commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sells his first works to some collectors and galleries, and finally moves to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career after his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognized through the most outstanding awards, such as the Premio Príncipe de Asturias de las Artes (2003) or the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

估价 900 - 1 000 EUR

编号 160 - EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002). "About what I don't know", 2008. Illustrated book with reproductions in original size of 47 drawings, 7 collages and 6 manuscripts with texts and drawings by the artist. Limited edition, copy 476/2988. Planeta Group. It has a case with lock and key. The cardboard box is damaged. Measurements: 44 x 34,5 cm (book); 48 x 38 x 7 cm (case);) 51 x 40 x 11 cm (box). Work published by Artika, in collaboration with the Chillida-Leku Foundation-Museum. This is a limited edition of 2,998 copies, numbered from I to X the first ten and from 1 to 2,988 the following ones, as stated in the notarial deed. The case has a security lock on the right side with a key of exclusive design. Two holes on the back to hang the case. Iron lever inside to lift the books. Chillida was formed between 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 of 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 of 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 around the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofia in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

估价 1 000 - 1 200 EUR

编号 161 - JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Homage to Gaudí". Attached book of studies and art book with reproductions of the 21 engravings that Joan Miró made in his Homage to Gaudí, with texts created by Pere Gimferrer. Limited edition, copy 981/998. Unique edition Editorial Planeta. In wooden case. Measurements: 50 x 70 cm (art book); 27 x 37,5 cm (study book); 56 x 76 x 8 cm (case) 86 x 69 x 16 cm (box). The reproduction, 80% of the original, has been made from the collection deposited at the Fundació Joan Miró in Barcelona. The reproductions have been printed on Fedrigoni Stucco Tintoretto paper of 220 g, and glued by hand on black cardboard Tintoretto Ceylon Black Pepper of 200 g.Limited edition of 998 copies, numbered from I to X the first ten and from 1 to 988 the remaining ones, according to the notarial deed.Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

估价 1 500 - 2 000 EUR

编号 162 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 600 - 800 EUR

编号 163 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 600 - 800 EUR

编号 164 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 600 - 800 EUR

编号 165 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 600 - 800 EUR

编号 166 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 600 - 800 EUR

编号 167 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 60 x 60 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 600 - 800 EUR

编号 168 - TERÁN (Chile, 1974). "Tribute to Fontana". Oil on canvas. Signed on the lower right side of the edge. Signed and titled on the back. Measurements: 162 x 130 cm. This work belongs to a series of seven paintings in which Terán reinterprets the iconic technique immortalized by Lucio Fontana. Only with the painting Terán recreates as a trompe l'oeil one of the most groundbreaking actions of contemporary art. Through different shades of white and variations he creates a pictorial series that works both as a whole and individually. In the catalog of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, but are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to those artists he admires, even when his own work bears no relation to theirs. The heterogeneity of his preferences is evident and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to skip aesthetic categories, as well as chronologies". A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of plastic arts and new technologies applied to art. Since he became known in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has received awards such as the Real Academia de San Carlos de Valencia (2004).

估价 1 600 - 1 800 EUR
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