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Los 48
AGUSTÍ PUIG PINYOL (Sabadell, Barcelona, 1957)."Female nude", 1999.Mixed media on canvas.Signed and dated in the lower right-hand corner.Size: 148 x 120 cm; 158 x 130 cm (frame).The canvas in question stands out both for the suggestion of synthetic elements barely sketched, and for the mystical character impregnated by these black silhouettes on the white background. The figures used simulate emotional gestures, incursions into the subconscious and eternal dilemmas of the artist, who immerses us in a complex graphic and symbolic universe that allows us to reflect on the essence of life.Agustí Puig studied at the School of Arts and Crafts in Sabadell, and later at the Massana in Barcelona. His painting, which is constantly evolving, was initially based on the contemplation of nature and landscape, abstracting elements such as light and colour. Puig also cultivates poster design, illustration, graphic design and sculpture, always with a distinctive personality. He has participated in numerous group exhibitions, including the II Biennial of Young Art (Barcelona, 1985) and the Hannover International Fair (1990). He has received an honourable mention in the Joan Miró Drawing Prize (Barcelona, 1985), and was awarded a prize in the Muestra de Arte Joven (Madrid, 1987). His solo exhibitions include those held at the galleries René Métras in Barcelona (1987, 1989 and 1991), Egam in Madrid (1988), Luis Adelantado in Valencia (1989), SIC in Vigo (1990), Fernando Latorre in Zaragoza (1993) and Van Art in Madrid (1997). He has also held personal exhibitions in foreign galleries such as the Centre les Hautes de Belleville in Paris (1988), Esse Gallery in Cologne (1990), Jadite Gallery in New York (1992), Futaba Gallery in Tokyo (1992), Messum's Gallery in London (2002-2005) and DeNovo Gallery in Chicago (2009). From the late nineties onwards, Puig moved away from his previous subject matter to focus on elements of everyday life, with chairs, shoes or hats, which he recreates with apparent spontaneity in an essentialised vision, full of subtlety, in which the economy of means endows the images with a certain magical and symbolic character. Agustí Puig's work is currently on permanent display in the galleries Giart in Girona, Set Espai d'Art in Javea and Messum's London, in London. He is also represented at the Vila Casas Foundation in Barcelona.
Los 39
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Argian II. In the Light" 1989Engraving on paper. Copy 43/50Signed and jutsified in pencil.Work referenced in "Eduardo Chillida. Opus P.III. Complete catalogue of graphic works. 1986 - 1996" p. 163.With damp stains.Measurements: 29 x 21 cm; 55 x 55 cm (frame).Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for the Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Los 100
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987).Untitled, circa 1970.Oil on panel.Attached certificate issued by Jacobo Viola, son of the artist.Signed in the lower right corner.Measurements: 46 x 38 cm. The piece shows the usual use of black as a background in which the tonalities are reversed, and at the same time they emerge as flashes of light, in an immense inconcrete emptiness. A pictorial space, which becomes a visual poetry, where the tensions generated by the artist, through the contrast of tonalities, such as magenta and armarillo, directly question the spectator. In this apparently simple work, Viola introduces only the primary colours on the black, which he manipulates with great mastery to create a whole range of tonalities that merge between the brushstrokes of the artist, who lets a large amount of matter rest on the support.José Viola Gamón adopted the name by which he is known, Manuel Viola, after the Civil War. A member of the El Paso group, his painting is characterised by an informalist and colourist treatment, in line with the avant-garde movements developed in Spain from the 1950s onwards. He began studying philosophy and literature in Barcelona, but was forced to abandon them because of the war. His first drawings date from these years. After the war he went into exile in France, where he wrote for the surrealist poetry magazine "La main à plume". There he began to exhibit his work in the exhibitions of the so-called Spanish School of Paris. He returned to Spain in 1949, and in 1958 his truly personal style began to emerge, and at the same time he joined the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
Los 74
GUILLEM NADAL (Sant Llorenç, Mallorca, 1957)."S.T. 9-6-06", 2006.Mixed media on canvas.Dated in the lower left-hand corner, signed and titled on the back.Measurements: 170 x 170 cm .The work stands out for its great gesturality, conferred by the artist's creative process. Nadal works with his hands, ploughing the canvas, producing furrows, textures; literally introducing himself into the work. The result is a play of light and shadow that not only invites us to see the paintings from different points of view, but also generates in the spectator an inevitable attraction to touch the works. Nadal's characteristic monochromatism, limited to a palette of whites, blacks and greys.Guillem Nadal's paintings take on the consistency of sculpture and his painting takes on the appearance of raw material. Nadal is fascinated by the secret codes that govern nature and he expresses this in his work.Guillem Nadal began his exhibition career in his native Mallorca, at the Sa Pleta Freda Gallery in Son Servera, where he produced the work presented here, in 1985. Since then he has participated in numerous solo and group exhibitions in galleries in Barcelona, such as the well-known Dau al Set, the Centre Cultural de la Caixa in Valencia, the Palau Gravina in Alicante and the Centre de Cultura Contemporània de Barcelona (CCCB). He has also exhibited internationally, at the Joachim Becker Gallery in Cannes, France; at the Tobias Hirschmann Gallery in Frankfurt, Germany; at the Musée d'Art Moderne et Contemporain in Nice; the Michaela Möeller Gallery in Salzburg, Germany, and others. The artist works both in painting and sculpture, from a point of view that does not shy away from figuration but is particularly interested in texture, surface and material. In this way, his works reveal the mystical feeling of emptiness, sometimes described by critics as a "Zen touch" in harmony with an ordered chaos.
Los 28
LUIS FEITO LÓPEZ (Madrid, 1929).Untitled.Watercolour on paper.Signed in the lower right corner.Size: 29 x 40 cm; 40 x 50 cm (frame).Born and trained in Madrid, he was one of the founding members of the group El Paso. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in 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 avant-garde movements in force. 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 were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed 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 and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. 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 important 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.
Los 103
KLAUS OHNSMANN (Mannheim, Germany 1962)"Interior with glassware", 2007.Acrylic, methacrylate and aluminium.Retains information label on the back of the IX Carriegos Painting Prize.Dated and titled on the back.Measurements: 180 x 110 cm.In this image the artist recreates in a realistic way an interior scene, where through a set of crystals a landscape can be appreciated in the last plane. The perspective is slightly rotated and the sharpness of the glass is distorted in such a way that the artist creates a piece with a naturalistic aesthetic, where light and reflections are the protagonists.Klaus Ohnsmann is a renowned German artist who began his career in his native country, although when he moved to Spain, his artistic production and career has been developed mainly in the country. He has an extensive curriculum with solo and group exhibitions, has won numerous prizes and has works in various international collections. He also has a museum that bears his name, located in the town of Sintra, which shows the evolution of his work, both technical and thematic, as well as his relationship with the Portuguese town.
Los 313
Disco Equipment - Denon DN-1800F, CDM8.4 mixing decks, Adastra power amplifier USA370, Crown LPS 800 amplifier, two EV 300 watt SX200 speakers, four Lanta disco lights, two Polaris lights, Skytec laser light, two APart 6W speakers- LOT SUBJECT TO VAT ON THE HAMMER PRICE - To be collected by appointment from The Ambassador Hotel, 36-38 Esplanade, Scarborough YO11 2AY
Los 4183
Kesting, Edmund -- Night view of Dresden. 1935. Vintage gelatin silver print on heavy chamois Agfa-Brovira paper. 29,5 x 39 cm. Signed by the photographer in ink in lower margin; photographer's stamp on the verso.Some light surface rubbing, otherwise a strong print in very good condition.Provenance: Galerie Döbele, Dresden
Los 4133
Film Photography -- Photographer unknown. Film stills from the UFA film "Der letze Mann" (The Last Laugh) with Emil Jannings, directed by Friedrich W. Murnau. 1924. 7 vintage gelatin silver prints on doubleweight paper (2 ferrotyped). Each circa 29 x 23 cm. 2 with UFA logo in the negative in lower left corner.One photo with small tears in upper edge, some with light mirroring in edges, otherwise in good condition.
Los 4187
Landauer, Lou -- Photograms of geckos. 1942. 3 vintage gelatin silver prints. Circa 18 x 13 cm. 2 with photographer's Jerusalem stamp, each with estate stamp and 1 annotated by the photographer in pencil on the verso.Lou Levi was born in Cologne in 1897, where she grew up with her two sisters Stefani and Bella. At the age of 26, in 1923, Lou married the lawyer Georg Landauer (1895-1954), later a prominent Zionist politician. After her marriage and education at the Commercial Academy in Cologne in 1924, Lou Landauer developed an interest in photography and enrolled at the Staatliche Fotoschule in Munich, where her name appears on the 1928/29 student list. In 1930 she moved to Berlin, where she continued her studies in photography, possibly at the Lette-Verein. In 1934, she and her husband emigrated to Palestine with her parents. Lou Landauer first worked as a press photographer for the Jüdische Rundschau, which was still published in Berlin at the time. In 1942, she began working as a teacher at the Bezalel Hechadash, the new arts and crafts school in Jerusalem, where she taught courses in the department of artistic photography. In 1949 Landauer went to the USA to make a new start. There she worked as an advertising photographer for various magazines and experimented with the technically complicated three-color Carbro process. In the 1950s, she seems to have given up professional photography altogether and worked as an assistant librarian at the Leo Baeck Institute in New York. – Some light handling marks, one print with slight buckling in edges, otherwise in very good condition. Provenance: From a descendant of the photographer
Los 4079
Siam -- Photographers: Lambert & Co., William Kennett Loftus, Chit & Son and Samuel Bourne. Views of Siam. 1890s. 6 albumen prints. Most circa 28 x 23,5 cm and smaller. All but 1 mounted to board (some foxing). The views show Pukao Thong (Golden Mount); Klong Ban lam poo; Bangkok; Birma, Shwe Dagon Pagoda; Rangoon; Birma, interior view of a temple, unknown Chinese bonsai garden. – Some fading in edges, a few light surface scuff marks, some with handling creases, otherwise most in good condition.Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 1860 - 1910. Bangkok 2016. ill. pp. 145, 197, 222.
Los 4002
Amazonia -- Photographer unknown. Shrunken head of Chief Tibi of the Antipas tribe, Amazon. 1870s. Albumen print. 20 x 14 cm. Mounted to board, annotated in English in ink on mount verso. This early and rare photograph of a shrunken head shows Chief 'Tibi', of an indigenous tribe settled on the upper Amazon called 'Antipas'. He was killed by members of the Aguaruna tribe in 1871 and subsequently prepared in this form. The history of these tribal battles and that of the head are extensively documented on the back of the photograph in contemporary handwritten notes. Headhunters existed in many regions of the world, but the making of shrunken heads from the heads of slain enemies is known only from a few peoples of the Amazon basin. This custom was especially practiced by the members of the Aguaruna and Shuar in Peru and Ecuador. After successful headhunting, the victorious tribe celebrated a series of complex rituals by making the head trophy (tsantsa), during which the life force of the slain person was transferred into the hunter. After the head was appropriately prepared, the eyelids and mouth were sewn closed with needles made of bamboo to prevent the dead man's vengeful spirit from exiting. In the 19th and 20th centuries, shrunken heads were a popular souvenir for sailors and travelers from South America, making them a coveted object of ethnological collectors and museums in Europe and North America. A shrunken head of this type was first displayed in London in 1861 in an ethnological exhibition. – Some light surface scuffing, otherwise a strong print in very good condition.
Los 4196
Lichtenberg, Emil -- Still life with glasses. 1936. Vintage ferrotyped gelatin silver print. 22,5 x 17 cm. Mounted to board (some light foxing), signed and dated by the photographer in pencil below image on mount.A few small scuff marks near left edge, otherwise a fine tonal print in very good condition.
Los 4150
Freytag, Heinrich -- "Kneipe am Abend" (Pub at Night). 1930s. Vintage gelatin silver print on strong ivory paper. 22,5 x 15,5 cm. Photographer's stamp, Dr. Adolf Behne stamp and annotated in ink/pencil on the verso.A few retouched spots, light crease mark in lower left, otherwise in very good condition.
![[*] Fridrich, Frantisek -- Views of Prague. Circa 1870. 3 albumen prints. Each circa 25,5 x 20,5 cm and 25,5 x 20,5 cm. Each](https://cdn.globalauctionplatform.com/4f49db92-7c57-442a-8b63-ae9300cabf94/29d79c4e-4880-4fa7-b5aa-ae9300d1fcba/468x382.jpg)
Los 4055
[*] Fridrich, Frantisek -- Views of Prague. Circa 1870. 3 albumen prints. Each circa 25,5 x 20,5 cm and 25,5 x 20,5 cm. Each mounted to board (slightly soiled), mounts with printed text Phot u. Verlag von F. Fridrich k. Preuss. Hoflieferant in Prag in lower right corner and printed title below the image on the mount.The images show Hradschin (East side), a panoramic view of the city and the Old Jewish Cemetery. – A few light surface scuff marks, otherwise strong prints in very good condition.
Los 4098
Berlin -- Photographer: Kessler. Views of Berlin during reconstruction. 1950s. 11 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 18 x 24 cm. 1 with photographer's stamp and some with German typed press text label on the verso.This interesting group of images shows well-known newly constructed buldings in Berlin after WWII such as the Henry Ford building in Dahlem, Otto-Suhr-Allee, Ernst-Reuter-Platz, the Academy of Arts, Hansaviertel and others. – Some light handlling marks, otherwise in good to very good condition.
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534297 Los(e)/Seite