JOAN GIL I GIL (Barcelona, 1900-1984)."Dancer".1946.Oil on canvas.Signed and dated in the lower left corner.Losses in the frame.Measurements: 100 x 80 cm; 120 x 101 cm (frame).Joan Gil began his training in Paris, to continue later at the Sant Jordi School of Fine Arts in Barcelona, where he later became a teacher. From 1924 onwards he took part in various group exhibitions, as well as in official competitions and contests, and was awarded prizes at the National Exhibitions of Barcelona in 1941 (third medal) and 1944 (second medal). He held his first individual exhibition in 1925 at the Galerías Layetanas. He exhibited there again in 1931, later exhibiting in many other galleries in Barcelona. In 1975 he held his last exhibition at the Gaudí gallery. Specialising in landscapes, portraits and dance themes, he cultivated a realistic language of Impressionist heritage, characterised by a special sensitivity for colour and light. Works by Joan Gil are kept at MACBA and at the Institut del Teatre.
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JOSEP SERRASANTA (Buenos Aires, Argentina, 1916 - Valldoreix, Barcelona, 1998)."Coastal landscape".Oil on canvas.Signed in the lower left corner.The frame is slightly damaged.Measurements: 37 x 45 cm; 64 x 72 cm (frame).Born in Argentina although of Catalan parents, Serrasanta lived in Catalonia since his childhood. There he studied at the School of Arts and Crafts of La Lonja, and completed his training as a disciple of Francesc Gimeno. Although he also tackled other themes such as still life, he soon achieved fame thanks to his beautiful landscapes of small abandoned villages, and also for his popular types, such as his famous gitanillas de Barcelona ("little gypsies of Barcelona"). He also cultivated mural painting, producing in this field in tempera, fresco and oil decorations in various Catalan churches. Particularly noteworthy are the admired murals he painted in the church of Santa Maria de Castelldefels (1950-58), as well as the paintings of the three domes of Lleida Cathedral. He had solo exhibitions in Tarrasa and later in the Augusta galleries in Barcelona in 1950. He also held personal exhibitions on several occasions in Madrid, Bilbao, Valencia, Paris and various cities in the United States and Japan. His work, which is traditional in concept, is notable for its energetic use of the palette knife and vibrant chromaticism. In 1964 he won the Grand Prix International de Cannes, and later the French government awarded him the Grand Croix du Commandeur au Mérite National Française. He is currently represented in various public and private collections, mainly in Catalonia.
JOAQUÍN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)"Sailor boy".Oil on canvas.Signed in the lower left area.Measurements: 84,5 x 71 cm.During the 19th century, beginning of the 20th century, the child portrait began to gain more prominence, extending from the nobility to the bourgeoisie. This fact was largely due to a change in education, and in the way in which the relevance of children in the family environment was conceived. For this reason it is not surprising to see a play like this one, in which the boy is the sole protagonist of the scene, unaccompanied by his parents.After studying at the Escuela de La Lonja in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He went to Sitges in 1910, at a time when his style had gradually lost its post-impressionist influences and was moving towards Mediterranean themes and the simplified canon figures of Cézanne. The following year, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the forefront of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974 to commemorate the centenary of his birth. As an easel painter he was the most representative of "noucentisme". His landscapes and female nudes were particularly outstanding, as were his portraits, which were far removed from traditional painting. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.
JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937)."Marina".Oil on canvas.Signed on the left side.Measurements: 50 x 70 cm; 81,5 x 102 cm (frame).The influence of his mentor Joaquín Sorolla can be appreciated in this magnificent painting by José Mongrell, but what is striking is a way of resolving the composition in which he himself was a master: with audacity, Mongrell has superimposed different levels of reality, from the fishermen's wives waiting in the foreground for their husbands to the bathers in the background, passing through the high society lady who enjoys a pleasant summer day. The framing is almost photographic, as it cuts out the boat on which the young woman is leaning with her basket, waiting to fill it with fish. On the left, the oxen can be glimpsed, ready to load the boats that are to dock on the coast. Multiple scenes are interwoven in the painting, worked with different levels of chromatic and luminous definition, in a faithful atmospheric rendering of the different planes. Valencian luminism reaches the highest levels here.José Mongrell studied at the San Carlos School of Fine Arts in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He achieved artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
EDGAR PLANS (Madrid, 1977)."A facial anatomie", 2007.Mixed media on canvas.Signed, titled and dated in the lower left corner and on the reverse.What can be seen on the reverse are traces of paint and matter.Certificate of authenticity attached.Measurements: 120 x 120 cm.In this painting, the artist presents us with a portrait in the purest abstract style. The way in which he composes his "facial anatomy" reminds us of Basquiat, to whom he makes a wink by placing his iconic crown in the upper right corner. The way he composes the portrait also reminds us of the aforementioned artist, as he divides the face into several quadrants and each one of them gives us different information, even writing which part of the face it represents. The artist's exercise goes beyond the main image, conceiving the work as a whole, in which the sides or edges, and the back of the canvas, also form part of the painting.In the words of the artist himself, "Even as a child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans, he opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Contemporary Art Centre, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Junta del Gobierno del Principado de Asturias, among many others.
JACINTO SALVADÓ ARAGONÉS (Montroig, Tarragona, 1892 - Le Castellet, France, 1983)."Abstraction", 1959.Oil on canvas.Signed in the upper right corner. Signed and dated on the back.Size: 89 x 57 cm; 95 x 63 cm (frame).After beginning his training at the La Lonja School in Barcelona, Salvadó made his first study trip to Paris in 1909. Five years later he settled in Marseilles and completed his studies at the School of Fine Arts. In 1919 he returned to Paris, where he visited the avant-garde art exhibitions and came into contact with Derain, Picasso, Torres-García and Julio González, among others. He alternated his residence between Paris and Barcelona until 1931, and made his individual debut in Barcelona in 1921 at the Galerías Dalmau. In 1924 he signed a contract with the Parisian Galeries Primtemps to decorate their shop windows. His first one-man show in Paris took place three years later at the Galerie Bing, where he was highly praised. He also took part in the Salons d'Automne and the Salons des Indépendants. He returned to his native Montroig in 1931, where he devoted himself for a time to plein air painting. His work acquired pictorial features of classicism, expressionism and surrealism, until he reached abstraction. During the 1930s and 1940s Salvadó, who first settled in Zurich and then in Le Castellet, began to combine figuration with geometric abstraction; in 1936 he painted his first abstract work, profoundly influenced by the geometric forms and precise calculation of Kandinsky. During the post-war period he took part in the Salon des Réalités Nouvelles, with compositions that were already close to Informalism, while retaining their geometrical basis. His last period, during the 1970s, centred on a return to flat geometry and strong chromatic ranges. He is currently represented at the Museo Nacional Centro de Arte Reina Sofía, the Museo de Arte Moderno de Tarragona, the Centre Pompidou in Paris and the IVAM in Valencia.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Passage De L'Egyptienne 4.Etching aquatint on paper.Signed in pencil in lower right corner.Measurements: 56 x 43 cm; 82 x 69 cm (frame).In this work we can observe soft greyish lines on which a big eye is located on the left side of the composition, at the same time we can find the classic chromatic palette of the author with the use of red, blue, yellow and magenta.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Self-portrait", 1946-47.Mixed media on paper.Signed and dated on the back.This work is published in the artist's online catalogue, ref. 2365.Size: 27 x 21 cm; 60 x 53,5 cm (frame).In his youth, Ponç explored psychological self-exploration through self-portraits, and numerous drawings such as this one, made during his primitivist-expressionist period, have survived.A painter and draughtsman, he trained in Barcelona in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part 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 managed 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, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their 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 illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both 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 of 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 period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.
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.
PABLO GALLO (La Coruña, 1975)"Inventory of dialogues".Acrylic on canvas.Size: 146 x 146 cm; 148 x 148 cm (frame).In this work of pop or Kistch aesthetics, the artist deploys a whole imaginary where he brings new meanings to economic elements of the collective imagination, such as the Snow White dwarfs, Tom and Jerry's mouse, Snoopy or Batman. However, the distortion of the forms with which he presents these characters, or the introduction of skulls, distances these stereotypes from the common ideal, raising questions about childhood and the way in which the adult world assimilates or understands what is childish.Pablo Gallo trained at the Pablo Picasso School of Art and later went on to study at the Massana School of Art in Barcelona. Despite having started his exhibition career some time before, he had his first solo exhibition in 1995. Throughout his professional career he has combined his work as a painter with that of video-creator and book promoter, having published and edited several literary and artistic works such as; El libro voyeur (2010), Hiperhibridos (2011), Manual de ruleta rusa (2015), dibujar en la oscuridad (2016), Siete días y siete calles (2018) and "Bestiario del norte" (2020).
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.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Composition", 1960. Collage of handmade papers. Unique piece.Attached certificate of authenticity issued by the Chillida Foundation.Signed and dated in the lower right-hand corner.Measurements: 75 x 54 cm; 103 x 81.5 cm (frame).In this collage by Chillida, one can appreciate a taste for texture and volume that bear witness to the sculptor's sculptural career. Chillida devoted part of his artistic career to making collages, dividing his production into two different areas. One in which he worked with cut paper, which he glued onto the support of the work, and another area in which he worked with graphic work. He normally used paper with rough textures and a selection of three-tone colours, although he later opened up his chromatic range to five more diverse shades.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 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.
JAUME PLENSA (Barcelona, 1955)."Li", 1988.Book-sculpture.Handmade paper and copper covers.Book with 12 etchings, edition of 35 copies, plus 5 P.A. plus 5 H.C., of which this is the 32/35. of which this is the 32/35th.Publisher: Tristan Barbará. Workshop: Baleta-Vibes, Barcelona 1988.Signed and justified by hand. As well as engravings numbers III and VII.Measurements: 59,5 x 52 x 3 cm .Book-sculpture with 12 etchings by Jaume Plensa and an unpublished poem by Jesús Ferrero. It contains twenty-eight loose sheets, kept in a rigid unvarnished copper box, based on an original design by Jaume Plensa, on handmade paper. Edition of 35 copies, plus 5 P.A., plus 5 H.C., of which this is the 32nd. of which this is the 32/35th.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in terms of both material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums 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 and the Museo Reina Sofía in Madrid.
EDUARDO ARRANZ BRAVO (Barcelona, 1941)."Dona-retalls", 1981.Oil on canvas.Signed and dated in the lower left corner; titled and located on the back.Measurements: 92 x 73 cm; 95 x 76 cm (frame)."Woman-cuts" is an emblematic painting of the direction Arranz-Bravo's creation took in the seventies and eighties, when he achieved a perfect harmony between the realistic sketch and the colour plane, entering with his neo-figurative language towards a redefinition of the portrait genre.Eduardo Arranz Bravo trained at the Sant Jordi School of Fine Arts in Barcelona between 1959 and 1962. He made his solo debut in 1961 at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was organised by the Barcelona Athenaeum in 1961. Between 1968 and 1970 he formed part of the group made up of Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint and solo exhibitions. His contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has held exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art in São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His prizes include the II Bienal Internacional del Deporte, the figure award of the Bienal Estrada Saladich, and the Ynglada-Guillot drawing prize. His work can be found in the Reina Sofía Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Beltza-Txiki", 1969.Etching on paper. Copy 44/50.Signed and numbered in pencil.Sizes: 33 x 25 cm (paper); 52.5 x 42.5 cm (frame).Chillida begins his training at the School of Architecture at the University of Madrid, but abandons his studies to devote himself to football, as goalkeeper for 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 took up 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. In 1951 he returned to San Sebastian for good, and made his first work in iron, the material with which he would work 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, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled, 1998.Mixed media and collage on canvas.Signed and dated in the lower right-hand corner.Size: 129,5 x 182,5 cm.The poetics of the absurd beats with intensity in Riera i Aragó's "poetic machinism". His interest in transforming machines into living sculptures that express the idea of flight or diving originated in the eighties, and in the nineties (the decade in which he produced the painting in question) this interest had already spread to a variety of techniques, not only in sculpture (graphic art, collage, works on paper...) Wheels and propellers suggest an impossible journey, a flight that is only possible with the imagination. Riera i Aragó somehow picks up on the Dadaist spirit and his passion for creating useless machines, but his is a passion for a very particular type of machine, which has become a rubric, so that his art is recognisable whatever the medium used.A painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes in Barcelona. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction cease to be opposing categories. Riera i Aragó is currently represented at the MACBA, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Le ramoneur furax", 1978.Lithograph on Arches vellum, copy 16/30.Signed and justified by hand.Work published in "Miró lithograph VI, 1976-1981", Maeght Éditeur, p. 102, ref. 1175.Size: 63 x 90 cm; 93 x 120 cm (frame).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. Already in the early date of 1918 he makes his first exhibition, in the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
BOSCO SODI (Mexico City, 1970)."Organic Pink", 2009.Mixed media on canvas.Signed, dated and titled on the back.Size: 60 x 60 x 10 cm.Bosco Sodi always uses colours of great expressiveness in his compositions that harmonise with the material and textured treatment of his pieces in a lyrical way. In this particular case the piece shows a pink finish, where the crackle itself generates a gradation of colour, giving life to different shades of the same colour. In Sodi's work, the connection with the earth prevails, with the raw materials linked to each place, so that each painting is uniquely related to the place where it was created. He explores gesture and matter in connection with the spiritual, using raw materials: pigments, sawdust, natural fibres, resins, volcanic elements... giving a textured result. Based in New York, Barcelona, Berlin and Mexico City, Bosco Sodi is a young and renowned Mexican artist with a self-taught background, who has become the heir to the tradition of Informalism and Abstract Expressionism. He points to Rothko and Tàpies as two of his masters; he admires the former for his masterful use of colour, and the latter for his interpretation of material and his appreciation of oriental sensibility. Sodi's work has gone through different periods, the result of his research. In his own words, he uses painting as "an inexhaustible source of new sensations", and defines it as "painting of the soul". The dazzling chromatism reflected in his work, and the explosion of vitality it contains, are intimately linked to the materials, which give shape to magmatic orographies. To achieve this material expressiveness he uses all kinds of elements, from sawdust to earth or iron filings, as well as large quantities of pigment. This conjunction of materials also has to do with the fact that Sodi conceives the physical act of painting as something telluric; he works the materials with his hands, directly, shaping them as a ploughman works the earth. On the other hand, chance also plays a leading role in his work: accident and the unexpected act as another element that gives shape to his works. Throughout his career, Bosco Sodi has held solo exhibitions in Spain, Mexico, Italy, Portugal, Colombia, Japan, the United States and Germany, the most recent being those held at the Museo de San Ildefonso in Mexico City and the Taka Ishii gallery in Kyoyo (Japan), both in 2012. He has also held personal exhibitions at important art centres such as the Bronx Museum in New York, the Casa de Asia in Barcelona, the Tokyo Wonder Site Shibuya and the Museo Internazionale delle Arti Applicate Oggi in Turin. He has also taken part in group exhibitions all over the world, and participated in fairs such as Art Basel, FIAC, ARCO, FRIEZE, MACO, Hong Kong Art Fair, CORNICE, SCOPE Basel, Los Angeles Art Show, China International Gallery.Exposition, Art Cologne, etc.
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.
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.
EDGAR PLANS (Madrid, 1977)."Pajaropolus", 2011.Mixed media on paper.Signed with initials, dated and titled in the lower margin.Provenance: Miguel Alzueta Gallery. Particular collection.Size: 70 x 48 cm; 79 x 57 cm (frame). Picasso claimed that learning to paint like the Renaissance artists took him only a few years, while painting like children took him a lifetime. The background of this mythical phrase of the painter from Malaga could well be applied to the singular vision that Edgar Plans imprints on his plastic universe: revealing himself in the face of the annihilation of the spirit of childhood, the artist from Gijón has decided, as Picasso said, to do the most difficult thing: to paint with the same freedom of a child.In the words of the artist himself, "Even as a very young child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans, he opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Contemporary Art Centre, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Junta del Gobierno del Principado de Asturias, among many others.
CARLOS MATA (Palma de Mallorca, 1949 - Barcelona, 2008).Horse "Kyros".Bronze. Unique piece.Attached certificate of authenticity issued by the artist.Measurements: 56 x 28,5 x 9,5 cm.The equine theme was predominant in the singular work of Carlos Mata. The names that Mata coined for his horses were impregnated with mythical resonances. "Kyros" refers to Etruscan and Greek culture. The basic forms to which this sculpture subsumes (it should be emphasised that this is a unique work, with no other examples) are rooted in these Mediterranean civilisations, in the cradle of our culture. Bronze, in his hands, is endowed with an extemporaneous patina, archaic and avant-garde at the same time. In his sculptures, Mata was always faithful to this reduction of objects to their essence and of silhouettes to pure lines. It is precisely this purity that makes the warmth of the texture of the bronze shine even more brightly, competing in prominence with the form of the piece itself. Mata opted for bronze or iron to reflect the warmth of manual work, with its arid, irregular, rough surfaces, which invite one to touch, and also with its fluid, smooth, rounded crevices.A sculptor, painter and engraver, Carlos Mata studied Fine Arts in Barcelona and Paris, cities between which he has shared his residence since his formative years. He held his first solo exhibition at the Canalls gallery in Sant Cugat del Vallés in 1976, and this first exhibition was followed by others in Barcelona, France and Germany. His most recent exhibitions include those held at the Kreisler gallery in Madrid, Casal Soleric in Palma and Can Marc in Girona. His sculptures in unpolished cast iron take advantage of their austere and rough qualities in figurative stylisations of a certain primitivism and archaeological evocation, generally taking animals, such as bulls or horses, as their subject. The same schematic intention can be seen in his painting, of a neo-figurative, planist type, with a contained and reduced chromatic range. In 2008, as a posthumous tribute, an important anthology of his work was held at Haras du Pin, in Normandy, France. The retrospective consisted of 35 bronze horses, as well as his collection of jewellery.
A collection of football and boxing photographs and facsimiles by Monte Fresco, for Daily Mirror, featuring various scenes including Tottenham Hotspurs Steve Archibald scoring past Kirk Stevens, boxers Tony Gibson and Mark Taylor, Steve Gatting training, Graeme Souness playing for Scotland v England, World Cup 1982 Barcelona: Paolo Rossi scoring for Italy against Brazil’s Falcao, Spain’s Jesus Satrustegui jumping over England’s Peter Shilton, Michel Hidalgo’s France standing after losing to Poland, Peter Shilton training, Argentina’s Diego Maradona poses with a suit of armour, Spain’s Jesus Zamora scoring against West Germany’s Uli Stielike, heavyweight boxers Marvis Frazier v Joe Bugner in Atlantic City and others (26)In various condition, some worn with marks and scuffs
"Historia de America ... por Mr. Belloc translated by Joan Cortada Barcelona 1844"Library stamp on both sides of the title page, half title, plates offsetting from the plates throughout the books, and foxing, rebacked with new end papers, contemporary marble boards but new backstrips and paste downs, the boards are very worn on the edges (2)
Autographed Bryan Robson 12 X 8 Photo Col, Depicting The Manchester United Captain Shaking Hands With His Barcelona Counterpart Diego Maradona Prior To The Second Leg Of The 1984 European Cup Winners Cup Quarter Final At Old Trafford, An Inspired Robson Guided His Side To A 3 0 Victory, Signed (By Robson Only) In Black Marker. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Pijuan, Joan Hernández -- "Esbòs per Terres Blanques 3"Öl auf Leinwand. 1996.27,5 x 35 cm. Unten rechts mit Pinsel in Braun signiert "Hernandez Pijuan" und datiert, verso mit Bleistift auf der Leinwand signiert "Hernandez Pijuan", datiert, betitelt und mit den Maßangaben. Die Malerei des katalanischen Künstlers Joan Hernández Pijuan beschäftigt sich mit den Grundlagen der Malerei, ihrer Mittel und Möglichkeiten. In die noch feuchten, mit dem Spachtel aufgetragenen Farbschichten drückt er mit einem Kohlestift seine Zeichnung ein und legt die darunterliegenden Farbschichten frei. Diese spontane und schnelle Technik unterstreicht seinen fast kalligraphischen Gestus - mit fließenden, ununterbrochenen Linien entsteht eine schwungvolle abstrahierte Landschaft. Joan Hernández Pijuan zählt zu den wichtigsten Gegenwartskünstlern Spaniens, sein Werk ist weit über die Landesgrenze hinaus bekannt. Im Jahr 2012 würdigte ihn das Museum Reina Sofia in Madrid mit einer umfassenden Retrospektive. Provenienz: 1997 Galería Joan Prats, Barcelona (in Kommission, verso mit dem Etikett)2000 Galerie Academia, Salzburg (verso mit dem Stempel in Rot)Privatbesitz NürnbergAusstellung: Hernández Pijuan "Repetir la Mirada". Malerei 1991-96. Salzburg, Mauro Mauroner, Galerie Academia, 1996, mit Abb. (noch ohne Signatur und Datierung) - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Santilari, Josep -- Blauschimmelkäse, Auster, Kirschen und Champagner-Korken.Bleistift und Graphit auf Zeichenkarton. 22 x 22 cm. Unten mittig signiert "Josep Santilari". 2015.In einem Atelier in Barcelona arbeiten zwei Brüder, eineiige Zwillinge, friedlich nebeneinander. Ihre Arbeitsweise ähnelt jener mittelalterlicher Mönche in ihren Skriptorien: bedächtig, präzise, aufwendig. Von Zeit zu Zeit unterbrechen sie die Stille und begutachten gegenseitig den Fortschritt. Sie besprechen Herausforderungen, notwendige Verbesserungen, bereits Funktionierendes. Es ist ein rhythmischer und disziplinierter Alltag.So bannen seit Jahrzehnten die katalanischen Zwillingsbrüder Pere und Josep Santilari das Reale in Kunstwerke von immenser Suggestivität. Auf faszinierend symbiontische Weise haben sie sich für die gleiche Arbeitsweise entschieden, sodass die Werke bis auf die Signaturen kaum voneinander zu unterscheiden sind (vgl. Los 6396). Auszeichnendes Merkmal der reduzierten Kompositionen ist die virtuose Qualität, die dem Auge die unerwartete künstlerische Kraft und Attraktivität des scheinbar Alltäglichen eröffnet. Aber nicht nur das Sehen wird angeregt. Das Betrachten ihrer Arbeiten ist eine taktile, ja geradezu synästhetische Erfahrung: die Tongradationen im Käsestück so fein, dass man meint, die Farben des Schimmels zu erahnen, das Brot so frisch und luftig, dass man fast dessen Konsistenz auf der Zunge spürt, das durchsichtige Plastik so realistisch, dass man den knackenden Laut beim Öffnen im Ohr zu glauben hat.Realismus und Stilllebenmalerei haben eine gemeinsame Tradition, die so alt ist wie das Genre selbst, schildert doch schon Plinius kurz nach der Zeitenwende vom künstlerischen Wettstreit zwischen Zeuxis und Parrhasios um die wahrhaftigere Darstellung der Realität. Aus dem Ringen zwischen Fiktion und Wirklichkeit schöpfen auch Peres und Joseps Arbeiten ihre poetische Kraft. Bewusst verorten die Brüder dabei ihre Bilder im Hier und Jetzt - etwa durch die Wahl plastikverpackter Nahrungsmittel wie dem Smoothie im to-go-Becher (Los 6394) oder dem Käse in der Frischhaltefolie.Obwohl oft genug mit Fotografien verwechselt, tragen Santilaris Werke bei genauerem Hinsehen die unverkennbaren Spuren des künstlerischen Herstellungsprozesses. Beim Zeichnen drücken sie nämlich die Bleistiftspitzen in das Papier und hinterlassen ganz gezielt Vertiefungen. Die so entstehende ondulierte Oberfläche aus feinsten Punkten, Linien und Strichen bringt den Glanz des Graphits zum Vibrieren. Am Anfang ihrer Arbeit stehen aber die leibhaftigen Gegenstände. Nichts in den Kompositionen ist dem Zufall überlassen. In einer dunkel gestrichenen Kiste werden nur wenige und ausgewählte Objekte sorgfältig arrangiert. Die Box wird dann neben ein Fenster gestellt, solange, bis die Schatten wie gewünscht fallen. Ein Foto dient als Grundlage für die eigentlichen Arbeiten. Zentimeter für Zentimeter füllen Pere und Josep ihre Papiere. Durch das Übereinanderlegen hauchfeiner Kreuzschraffuren, durch Drehen des Papiers, durch verschieden harte Bleistifte heben sie geduldig die Gegenstände aus dem Weiß des Papiers. In dutzenden von Tüten sammeln sie Bleistiftstummel und stumpf gewordenen Spitzer. Als wären die Werke nicht Beweis genug für diesen so akkuraten wie langwierigen Prozess. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Barry Flanagan (1941 - 2009)Horse on Anvil (2001)Bronze, 55.2 x 50.8 x 21cm (21¾ x 20 x 8¼")Incised with the artist's monogram and stamped by the foundry on the base. No. 4 from and edition of 8 plus 4 artist's proofsProvenance: Private Collection, DublinBarry Flanagan’s Drummer, a monumentally elongated figure of a striding hare beating a bodhrán, resplendently located in the Royal Hospital Kilmainham, is the Irish Museum of Modern Art’s unofficial mascot. As part of IMMA and the Hugh Lane’s joint retrospective of his work in 2006, several more bronze hares were installed along O’Connell St in Dublin. There were comparable installations of hares elsewhere, including New York City. Flanagan, a genuinely anarchic presence, was by then firmly associated with the hare, which had become for him a playful alter ego, but horses, cougars and elephants are also important members of his personal bronze menagerie. Horse sculptures by him are prominently sited in Cambridge and Montreal, for example.Even as he altered and distorted the various animals’ literal appearance in his elaborately anthropomorphic works, the elegantly fluent sculptures retain an uncanny fidelity to the source creatures and, vitally, their individual personalities. Flanagan’s approach is encapsulated in his often cited statement explaining that, for him, each subject reveals itself to his “sculptural awareness” and, it should be said, anyone who spent time with him attested to the extraordinary intensity of his attention. He first turned towards animal sculptures in the late 1970s, he said, when he saw a hare bounding across the Sussex Downs: a free spirit. That idea, the animal and by extension the human as free spirit, shines through all of his animal figures. In 1979 he saw the touring exhibition The Horses of San Marco at the Royal Academy. Some of the most remarkable equine sculptures ever made, believed to be from Constantinople, they top the facade of San Marco in Venice (now in facsimile form). These sculptures had a comparably energising effect on Flanagan. In his horse sculptures he takes the horse as a standard component of classical statuary, usually supporting some illustrious rider and, as with the majestic San Marco horses, restores to it its independence, imbuing it with qualities of playful irreverence, nobility and energy. This is particularly true of his kouros horses, which refer to classical Greek sculptural figures and also, subtly, incorporate aspects of the hares in their lean, elongated forms. Here the animal’s lively, buoyant energy plays against the weight and density of the anvil. Flanagan began his artistic life a long way from representational bronze sculpture, using such materials as rope, sand and flax, bound by fabric supports, in installations that resonated with elements of conceptual and land art, and the arte povera movements (he collaborated with Yoko Ono at one point). Yet Flanagan was always an independent force following his own line of development. His oft acknowledged enthusiasm for Alfred Jarry, the iconoclastic writer known for his singular drama Ubu Roi and his invention of pataphysics - a kind of alternative, imaginary physics - gives a good indication of the flavour of Flanagan’s imagination.Born in North Wales to Irish-Welsh parents, he steadily built an international reputation, exhibiting extensively and representing Britain at the Venice Biennale in 1982. He became an Irish citizen around the turn of the century. A restless spirit, he saw himself as essentially an itinerant artist and spent considerable time in Ibiza, Dublin, Amsterdam, Barcelona and elsewhere.Aidan Dunne, May 2022
RÀFOLS CASAMADA, ALBERTBarcelona 1923 - 2009Titel: "Ciutat de mar". Datierung: 1991. Technik: Acryl auf Leinwand. Maße: 194 x 130cm. Bezeichnung: Signiert, betitelt und bezeichnet verso: Ràfols Casamada "ciutat de mar. Rahmen/Sockel: Rahmen. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Pelaires Centre Cultural Contemporani (Hrsg.): Ràfols Casamada - Pintures, Palma/Mallorca 1992, Abb. S. 73. Für dieses Objekt fällt eine zusätzliche EinfuhrUSt-Umlage an, da es aus dem Drittland temporär eingeführt wurde (AGB §V5.2).Albert Ràfols Casamada Spanien Postexpressionismus Abstraktion Nachkriegskunst Unikate 1990er Farbe Malerei AcrylErläuterungen zum Katalog
SIRVENT, JOSEP MARIA1957 Llivia/Gerona, SpanienTitel: FITA VII. Datierung: 1992. Technik: Eisen und Granit. Maße: 189 x 16 x 16cm. Die Skulptur kann nach Rücksprache im Raum Bonn besichtigt werden. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Galeria Maeght (Hrsg.), Josep Maria Sirvent - esculturas, Barcelona 1992, S. 16, Abb. (Beigabe). Josep Maria Sirvent Spanien Nachkriegskunst Objekte 1990er Geometrische Abstraktion Skulptur EisenErläuterungen zum Katalog
Football Memorabilia Boxes: Includes 69/70 FKS sticker album with a couple missing, Colchester Utd 1992 Trophy Final and Inter Milan flag. Many boxes of Paul Merson Testimonial safety matches, early 80s large Barcelona pennant, Sun early 70s Soccer Stamp albums, Wycombe related memorabilia, photos with some signed, few old magazines and papers, rosettes, a box of framed items and much more. Worth a look. (2 boxes)
Emilio Garcia (b1981) Skull Brain Graphite segmented sculpture. Ltd edition 16/30 with certificate of authenticity. The new limited sculpture hand made at the Secret Lapo Laboratories, 12.5cm Emilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe, and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.
Emilio Garcia (b1981) Skull Brain 24k gold plated segmented sculpture. Ltd edition 11/20, with certificates of authenticity. The limited sculpture hand made at the Secret Lapo Laboratories, was showcased from December 4th through 9th at CONTEXT Art Miami 2012 thanks Black Square Gallery. 12.5cm Emilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books. Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more. Condition - Some Scratching to interior plates
Emilio Garcia (b1981) Skull Brain Chrome segmented sculpture. Ltd edition 11/20 with certificate of authenticity. The new limited sculpture hand made at the Secret Lapo Laboratories, was showcased from December 4th through 9th at CONTEXT Art Miami 2012 thanks Black Square Gallery 12.5cm Emilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe, and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.
Emilio Garcia (b1981) Skull Brain Clear resin segmented sculpture, Artist Proof, 2016, hand engraved signature, with certificate of authenticity. Limited sculpture hand made at the Secret Lapo Laboratories. 12.5cm Emilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe, and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.
Emilio Garcia (b1981) Skull Brain Pink segmented sculpture, Artist Proof, with certificate of authenticity. Limited sculpture hand made at the Secret Lapo Laboratories. 12.5cmEmilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.Condition - Paint wear on top and cheek
Emilio Garcia (b1981) Skull Brain Bronze segmented sculpture, Limited edition 5/5, hand signed by the artist, with certificate of authenticity. Limited sculpture hand made at the Secret Lapo Laboratories. 12.5cmEmilio Garcia was born in the winter of 1981 near Barcelona, Spain. He has a long career trajectory as freelance art director and visual artist. Since 1999 he has worked with such well-known international companies like Berlitz Kids, Hitachi, Diesel, Inditex, Metro, Vans or The North Face among others specializing in motion graphics and multimedia content. His work is published in Taschen Favourite Websites and Web Design Index Books.Emilio' sculptures are currently being exhibited in art galleries, art fairs and museums throughout North America, Europe and Asia. Due his artistic growth and budding success, Emilio is also involved in all sorts of neuro-urban merchandising, from Art Toys to skate decks, mugs, keychains, clothing and many more.
Football, Ronald Koeman signed and mounted colour presentation photograph, approx 12x16. Koeman is a Dutch professional football manager and former player, who is the current head coach of La Liga club Barcelona. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Football, Ronald Koeman signed and mounted colour presentation photograph and signature piece, approx 16x12. Koeman is a Dutch professional football manager and former player, who is the current head coach of La Liga club Barcelona. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ronald Koeman signed 12x8 colour photo. Ronald Koeman ( born 21 March 1963) is a Dutch professional football manager and former player, who was most recently the manager of La Liga club Barcelona. He is the younger brother of his former international teammate Erwin Koeman and the son of former Dutch international Martin Koeman. Koeman was capable of playing both as a defender and as a midfielder; he frequently played as a sweeper, although he was equally known for his goalscoring, long-range shooting, and accuracy from free kicks and penalties. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Vinyl - 12 Queen & Freddie Mercury LP's to include By Appointment Only, Sheer Heart Attack, A Night At The Opera, A Day At The Races, At The Beeb, The Miracle, Greatest Hits 2, Live Magic, A Kind Of Magic, Live Killers, Jazz (includes poster), and from Freddie Barcelona. Condition at least Vg+ overall and Ex in many cases
MANCHESTER UNITED Five autographed 16 x 12 montage-editions of FA Cup victories - Norman Whiteside (1985), Bryan Robson (Captain of 1983, 1985 & 1990), Jimmy Greenhoff / Stuart Pearson (1977), Lee Martin (1990) together with a similar image showing Paul Scholes winner v Barcelona in the 2008 Champions League semi-final, all signed in permanent marker. Good
MANCHESTER UNITED Twenty eight programmes for 1999 European Cup Final in Barcelona, 1999 Toyota Final in Japan, plus European games at 67/8 Hibs Malta two different copies, 1991 Athinaikos, 1992 Torpedo 3 different copies plus games at Lyon, Real Madrid, Juventus, PSV, Feyenoord, Monaco, Porto, Panathinaikos, Villareal, Friendlies at Amsterdam 1962 and others in Australia, USA, China and Denmark (28). Good
MANCHESTER CITY Six home programmes with relevance to the old and new stadiums. 2002/3 v. Manchester United, last "Derby" at Maine Road and v. Southampton, last league match at Maine Road. 2003/4 v. Barcelona, first match at City of Manchester Stadium, v. Manchester United, first "Derby" and v. Leicester City, first FA Cup tie at the new stadium. Plus v. QPR 2011/12 Championship winning match. Good
EUROPEAN FOOTBALL PROGRAMMES Nine programmes, 1969 European Cup Final Ajax v Milan, 1966 ECWC Final, Dortmund v Liverpool, 1969 ECWC Final Barcelona v Slovan Bratislava, price stamped on the cover, Fairs Cup Finals 1958 London v Barcelona and 1960 at Birmingham v Barcelona and Semi-Final 1970 at Ajax v Arsenal. European Cup ties at Waterford v Celtic 70/1 and at Ipswich v Milan 62/3 and 1968 European Championship in Italy plus a 10" Barcelona pennant. Good
![Mediterranean.- Arabic inscribed maritime pilot.- Colom (Jacob Aertsz) [Colomne Ardante de la mer Méditerranée], 9 double-pag](https://cdn.globalauctionplatform.com/b7ed54e3-d8c6-448e-b190-ae8a010a1cd3/238de418-f4c8-4ea5-aa4d-ae8a011091d1/468x382.jpg)
Mediterranean.- Arabic inscribed maritime pilot.- Colom (Jacob Aertsz) [Colomne Ardante de la mer Méditerranée], 9 double-page maps only, 8 by Colom, numbered in the plates from '2' to '9', plate '1' replaced with Johannes de Ram's map of the Mediterranean 'Paskaart vande Middelandsche Zee In twee deelen vertoont...', charts 2 to 9 cover the Straits of Gibraltar, the Barbary Coast, Majorca, the coastline around Barcelona, Nice, Corsica, Sardinia, Southern Italy, Sicily, and Croatia, engraved charts, each sheet approx. 440 x 550 mm (17 1/4 x 21 3/4 in), each mounted on stiff paper with maps back-to-back, with thick red and black ink borderlines, Arabic inscriptions translating location names throughout, heavy spotting and browning throughout, some cockling and losses to sheets, old repaired tears, creases and signs of heavy use, contemporary stiff paper covers, worn with losses, maunscript label to lower cover pasted upside down that reads 'Carta Marinaresca/ del Mar Mediterraneo', folio, [Amsterdam, circa 1670-1680]⁂ Unusual working copy of Colom's rare pilot, owned by a mariner fluent in Arabic. Koeman highlights the rarity of Colom's pilot books and notes that despite 'thousands of copies [being] circulated [...] only a score have survived'. [Koeman IV, p. 120]
A Very Rare 20-Bore Percussion Silver-Mounted Sporting Gun By Wogdon Of London, London Silver Hallmarks For 1768, Maker's Mark Of John KingConverted from flintlock, with sighted two-stage barrel (old russeting overall) turned and chiselled with a foliate band at the girdle, octagonal breech with pierced silver band probably also forming the lug for the barrel-bolt, and stamped at the rear on the top flat with crowned Spanish style maker's mark above a Barcelona style mark surrounded by silver-inlaid foliage (incomplete), grooved foliate engraved tang, signed flat bevelled lock with stepped tail, figured half-stock (reduced from full) with dark horn fore-end cap, chequered grip (split through and repaired), carved with a shell behind the barrel-tang and inlaid with silver wire scrollwork on the side flat, border engraved mounts decorated with rocailles and foliage, comprising butt-plate and trigger-guard with early form of acorn finial, turned rear ramrod-pipe, and later brass-tipped ramrod (worn overall, barrel and lock rust patinated) 97 cm. barrel Footnotes:Only one other silver-mounted longarm by Robert Wogdon appears to be recorded and bears the same hallmarks. See John O'Sullivan & De Witt Bailey, Robert Wogdon, Wogdon & Barton, John Barton, London Gunmakers 1765-1819, 2019, Cat. No. FP1, p. 251For further information on this lot please visit Bonhams.com
PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Suite 156".Engraving, copy 24/50.Signed in plate, justified by hand.Belonging to the series "Suite 156".Work published in "Picasso Suit 156". Kosme Baraño Letamendia, Ed. BBV, Bilbao 1998.Measurements: 50 x 65 cm; 75 x 88 cm (frame).This series is made up of a set of one hundred and fifty-six prints from as many copperplates that Picasso engraved when he was over ninety years old. The works reveal his old age through an iconography that never fails to show an elderly Picasso. The prints do not provide an overall view, but they all have in common a retrospective look at the artist's life and work, and a nod to his visual memory. Thus we can glimpse the theme of the circus, to which Picasso was a regular in his youth, the female nude, with images of brothels, or his debt to painters for whom he felt admiration.The creation of Suite 156 was structured in three stages. From January to 25 May 1970, Picasso engraved more than fifty copper plates. In the second stage, between 25 February and 16 June of the following year, he made nearly a hundred plates, including thirty-eight dedicated to the image of Degas. Finally, in March 1972, he produced three more copperplates, two of them for Suite 156. Of this series, printed in its entirety by the brothers Piero and Aldo Crommelynck, fifty numbered copies were printed. The only three complete series of Suite 156 in existence are in the Musée Picasso in Paris, in a private collection and in the Bancaixa Foundation.The creator of Cubism together with Braque, Picasso's painting marked a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Quatre colours aparien le mon", 1970.Lithograph on paper, H.C. copy.Signed and justified in pencil.Work published in "Miró engravings vol. 3 (1973-1975)". Jacques Dupin, Ed. Polígrafa S.A., Barcelona 1992. Fig. 826.Size: 90 x 62.5 cm; 108.5 x 81 cm (frame).Miró began to produce graphic work in 1928 and 1929. It was after the Civil War that lithography took pride of place in his production, and he devoted himself to it with the same intensity as if it were a painting or a drawing. The simplification of forms, the strength of colour, the appreciation of the background of the paper and his particular signs and symbols are interwoven in a plastic and poetic whole that takes us back to his particular universe. Black and night blue confront red and yellow, playing with the star, the dot, the moon and the hair, some of his characteristic signs. The beauty of the work lies in its graphic and colourful rhythm, in its visual impact, which is alien to the attempt to understand what the images represent.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galeries Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Museo Reina Sofía in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
BOSCO SODI (Mexico City, 1970)."Barcelona", 2006.Mixed media on canvas.With label of Il Museo Internazionale di Arti Applicate Oggi, on the back.Signed, dated and titled on the back.Measurements: 180 x 180 cm.In Sodi's work, the connection with the land, with the raw materials linked to each place prevails, so that each painting is uniquely related to the place where it was created. He explores gesture and matter in connection with the spiritual, using raw materials: pigments, sawdust, natural fibres, resins, volcanic elements... giving a textured result. Based in New York, Barcelona, Berlin and Mexico City, Bosco Sodi is a young and renowned Mexican artist with a self-taught background, who has become the heir to the tradition of Informalism and Abstract Expressionism. He points to Rothko and Tàpies as two of his masters; he admires the former for his masterful use of colour, and the latter for his interpretation of material and his appreciation of oriental sensibility. Sodi's work has gone through different periods, the result of his research. In his own words, he uses painting as "an inexhaustible source of new sensations", and defines it as "painting of the soul". The dazzling chromatism reflected in his work, and the explosion of vitality it contains, are intimately linked to the materials, which give shape to magmatic orographies. To achieve this material expressiveness he uses all kinds of elements, from sawdust to earth or iron filings, as well as large quantities of pigment. This conjunction of materials also has to do with the fact that Sodi conceives the physical act of painting as something telluric; he works the materials with his hands, directly, shaping them as a ploughman works the earth. On the other hand, chance also plays a leading role in his work: accident and the unexpected act as another element that gives shape to his works. Throughout his career, Bosco Sodi has held solo exhibitions in Spain, Mexico, Italy, Portugal, Colombia, Japan, the United States and Germany, the most recent being those held at the Museo de San Ildefonso in Mexico City and the Taka Ishii gallery in Kyoyo (Japan), both in 2012. He has also held personal exhibitions at important art centres such as the Bronx Museum in New York, the Casa de Asia in Barcelona, the Tokyo Wonder Site Shibuya and the Museo Internazionale delle Arti Applicate Oggi in Turin. He has also taken part in group exhibitions all over the world, and participated in fairs such as Art Basel, FIAC, ARCO, FRIEZE, MACO, Hong Kong Art Fair, CORNICE, SCOPE Basel, Los Angeles Art Show, China International Gallery Exposition, Art Cologne, etc.
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Composition in a wheat field".Mixed media and matter on canvas.Signed in the lower left corner.Size: 28 x 22 cm, 34 x 29 cm (frame).Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, clay, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). Guinovart's artistic output is very varied: mural paintings, theatre sets and scenographies, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He took part in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona in 1981, the National Plastic Arts Prize in 1990 and the Generalitat's Plastic Arts Prize in 1990. In 1994 the Espai Guinovart was opened in Agramunt, Lérida, a private foundation with a permanent exhibition of the artist's work. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
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