§ JAMIE SHOVLIN (BRITISH 1978-) VOTIVE (25TH AUGUST, 19:22) - 2021-22 Pencil on paper mounted on canvasDimensions:15cm x 10cm (6in x 4in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Jamie Shovlin was born in Leicester and graduated from the Royal College of Art in 2003. His first exhibition after graduating was Naomi V. Jelish (2001-4), a fabricated archive of drawings attributed to the titular young girl. His work often features elements of autobiography and family history. For In Search of Lost Harmony (2003-6), displayed at Tate Britain in 2006, Shovlin used his mother’s bird watching as a starting point to examine about histories of amateur and scientific classification.Shovlin has explored the use of archives and structures that underpin ideas of subjectivity and history through a variety of forms, including Lustfaust: A Folk Anthology 1976-81 (2003-12), another large-scale project centred around a fictional archive of music memorabilia, and Hiker Meat (2009-14), a collection of material related to fictional film of the project’s title. Jamie Shovlin lives and works in London.Votives is an ongoing series of pencil drawings mounted to canvas that each depict a solitary candle drawn from life. Titled after the date of each drawing’s conclusion, the works form a collective portrait of time and the fixing of an instant in a concentrated act of observation. The series exists as both singular works and as components of a collective display with the life-size images taking the candle as subject matter in reference to its prominent place within art historical symbolism, acting as a metaphor for time, history, life, and mortality.
We found 16019 price guide item(s) matching your search
There are 16019 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
16019 item(s)/page
§ IAN DAVENPORT (BRITISH 1966-) LIFT - 2021 Etching with chine collé, A.P. 1/5, signed, dated and editioned in pencil to marginDimensions:image size 59cm x 49cm (23.25in x 19.25in)Provenance:Provenance: Cristea Roberts GalleryTo be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Ian Davenport is best known for his colourful “puddle” paintings. To make them, the artist meticulously pours hundreds of thin acrylic lines down a canvas, and they artfully pool and swerve at the bottom. All of Davenport’s work embraces experimentation: he has used a variety of industrial and everyday tools—including wind machines, hypodermic syringes, and watering cans—to manipulate paint and draw as much attention to the process of artmaking as to the finished works themselves. Davenport graduated from Goldsmiths College in London in 1988, the same year he featured in the Freeze exhibition curated by fellow Young British Artist Damien Hirst. In the years since, Davenport has exhibited at the Royal Academy of Arts, the Galleria Nazionale Arte Moderna in Rome, the Hammer Museum, and Kunsthal Rotterdam, among other institutions.
§ PREM SAHIB (BRITISH 1982-) YOUR DISCO NEEDS YOU XXXVI - 2017 Digital print on ceramic tile, signed, titled and dated verso Dimensions:17cm x 20 cm (6.75in x 8in), unframedProvenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Your Disco Needs You XXXVI (2017) is a digital print of a landscape on a white tile, glazed and fired after printing so that the image sits faintly on the surface like a bruise or a stain, hazy and opalescent. The work recalls a glimpsed reflection, in a public urinal's white tiled wall, of a leafy cruising spot in a London park. Spaces exterior and interior; public and private; expansive and intimate; memorialised and forgotten, all fleetingly combine in an eternalised ephemeral moment, a continuation of Sahib's archiving of queer spaces fading from view or relegated to the margins.The work of Prem Sahib embodies a poetic and provocative "destabilised minimalism", referencing the architecture of public and private spaces, structures that shape individual and communal identities, senses of belonging, alienation and confinement. Mixing the personal and political, abstraction and figuration, Sahib's formalism is suggestive of the body as well as its absence, drawing attention to traces of touch and frameworks of looking.In 2023, Sahib will publish That Fire Over There with Book Works, an artist's book developed from Descent, a three-part exhibition at Southard Reid, London in 2019 – 2020. Sahib’s work has been shown widely including solo institutional exhibitions Balconies, Kunstverein Hamburg, 2017 and Side On, ICA London, 2015, as well in group shows at spaces that include Sharjah Art Foundation, Migros Museum, Whitechapel Gallery, Hayward Gallery, KW Institute of Art, Des Moines Art Centre and the Gwangju Biennale. Their work is in the collections of Tate, The Arts Council, Government Art Collection, UK; Walker Art Center, Minneapolis, USA; Astrup Fearnley Museum of Modern Art, Norway; X Museum, Beijing, China; and MONA, Australia.
§ MATT SMALL (BRITISH CONTEMPORARY) JAMES - 2019 Signed, titled and dated verso, oil on found metal panelDimensions:71.5cm x 43.5cm (28.25in x 17.25in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Primarily a painter, London based Matt Small has a strong, compelling style, often choosing discarded objects like car bonnets or old signs instead of canvas for his work. 'The theme of my work is young, dispossessed people: individuals who feel undervalued, who don’t have a voice, who get looked over.' Small explains how the urban debris he paints on becomes symbolic of the feeling of being without value: 'I thought it’d be interesting to connect the two – that oven door, that shelving unit, that piece of trash to someone – I don’t see it like that, I see that it can be something beautiful and worthwhile. That’s how I see our young people too. Let’s look at their potential, at the hope that’s in all of them.'
§ KAREN KNORR (AMERICAN/BRITISH 1954-) THE LOVESICK PRINCE, AAM KHAS, JUNHA MAHAL, DUNGARPUR PALACE (SMALL), FROM INDIA SONG - 2013/2018 Colour pigment print, A.P. 1, signed to artist's studio label verso Dimensions:60cm x 76cm (24in x 30in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Please note this work is sold with accompanying Ceritificate of Authenticity, issued by the artist.Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.The subjects of Karen Knorr’s work are as geographically diverse as the artist’s own biography: Knorr was born in Germany and raised in Puerto Rico, before she ventured to Paris and settled in London. While she works in video and installation, she is perhaps best known for her photographs and digital collages. Principal themes in her work include the stratification of class, the distribution of privilege and wealth, value systems, the symbolic role of animal representations, and issues of power at the foundation of cultural heritage. Knorr prefers to look at the privileged rather than the disenfranchised; her subjects have included wealthy English classes and their patriarchal systems and frequented clubs. More recently, Knorr has produced a series of digitally modified interiors set in India, based on fables and injustices.
§ THE CONNOR BROTHERS (BRITISH 1968-) I TRIED TO DROWN MY SORROWS - 2021 Hand-coloured pigment print with acrylic and oil stick, SP 1/5, signed, dated and numbered in pencil to margin, signed to an artist's label versoDimensions:the sheet 100cm x 68 cm (39.5in x 26.75in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: It is the paradox of art that artifice is often the best way to depict reality, fiction the best way to challenge conventional ideas of what we think of as ‘the truth’. Most people are happy to think that this is the way it is. But it really isn’t. Who knows the truth of anything? - Mike SnelleThis obsession with truth and fiction is the golden thread that runs throughout the life and work of The Connor Brothers and is particularly relevant in the current climate of fake news, post-truth and social media. The brothers create retro style figurative images which encourage us to challenge our assumptions and preconceptions, and as a result to perhaps see the world a little differently. Their interest in undermining our assumptions and casual acceptance of cultural norms is reflected in their extraordinary background.They themselves started out as a fiction as in reality they are British artists Mike Snelle and James Golding. The fictional identity of Mike and James was designed to cloak their personal reality, and such was its success that it captured the imagination of the art world. The Connor Brothers were presented as innocent twins who had emerged traumatised from a Californian cult and were struggling to make sense of the world through their art – an interesting background no doubt, but the truth is more interesting still. After coping with some challenging personal issues for many years the two became great friends and started experimenting with making art as a way of looking at the world through a more positive lens. Their intelligence, humour and creativity gave their work enormous appeal, but when it was suggested to them that they might choose to exhibit it one day, both resisted the idea, unwilling to expose their artworks and themselves to the public gaze.
§ CHARLES AVERY (SCOTTISH 1973-) UNTITLED (FAMILY GROUP) - 2001 Signed and dated lower right, pencil, ink and coloured pencilDimensions:73cm x 88cm (28.75in x 34.5in)Note: Note: Charles Avery is one of Scotland’s most highly regarded contemporary artists. He has shown at the Scottish National Gallery of Modern Art on a number of occasions; he was commissioned to make a public work to be sited in Waverley Station for the Edinburgh Art Festival in 2015; and he represented Scotland at the 52nd Venice Biennale in 2007. His work can also be found in numerous public collections including Tate London, Kunstmuseum, The Hague and the David Roberts Art Foundation, London.These two drawings relate to Avery’s long-term project The Islanders, a painstakingly detailed alternative world that the artist has created. Through drawings, texts and objects Avery describes the inhabitants, architecture, philosophies, customs and idiosyncrasies of this imagined world, part Scottish Hebrides, part East London. The Island sits at the centre of an archipelago, its capital the port city of Onomatopoeia, described by Richard Ingleby as ‘originally a stepping off point for pioneers and travellers, turned bustling boomtown, turned citadel, turned depression ravaged slum, turned regenerated city of culture’. In these two drawings, we see the denizens of the Island at rest, a riff on the traditional art historical motif of ‘bathers’, albeit transferred to hotel pools and public baths. Their swimwear, has a time- and space-shifting quality, taking us back to the 70s and possibly to the Eastern Bloc, yet at the same time, the poses and expressions feel very contemporary, with their combination of awkwardness and poise.Elements of the Islanders project have recently been exhibited at the 16th Istanbul Biennial (2019),the Kochi-Muziris Biennale, Kerela (2017) and at the Scottish National Gallery of Modern Art, as part of the NOW series of exhibitions (2019).
JAZZ (BOP/POST BOP/HARD BOP/COOL/CONTEMPORARY) - LP COLLECTION. Brilliant quality collection of around 104 x LPs including many high quality Japanese pressings. Almost entirely pressings from the 1970s/1980s. Artists/titles include Bill Barron - The Tenor Stylings Of (early 1970s US RE, Savoy MG-12160, Sample Copy stamped both labels - sharp Ex condition record/VG+ a few minor creases), Sonny Clark - Dial "S" For Sonny (Japanese Blue Note RE, BLP 1570), Alvin Queen & Dusko Goykovich - A Day In Holland (NQ 3407), Dexter Gordon - Biting The Apple, George Adams inc. Live At The Village Vanguard Vol 2. (SN 1144), Tubby Hayes - Tubbs' Tours, Mexican Green and Jazz Date, Chick Corea inc. Now He Sings, No He Sobs (JP, GXC 3165), Beaver Harris, Joe Harriott, Herbie Harper, Claire Austin, Henry 'Red' Allen, Gato Barbieri/Don Cherry, Billy Bang Quintet - Invitation, Kenny Barron, John Lewis, Gary Burton, Paul Bley inc. Introducing... (JP, RE), S/T (JP, RE) and Barrage, Art Blakey, Keith Jarrett, Eddie Costa, Curtis Counce and Lee Konitz. Condition is often lovely Ex to Ex+/archive (records) and neat VG+ to Ex+ (sleeves).
JAZZ (BOP/POST BOP/HARD BOP/COOL/CONTEMPORARY) - LP COLLECTION. Superb quality collection of around 104 x LPs including many high quality Japanese pressings. Almost entirely pressings from the 1970s/1980s. Artists/titles include The Dave Bailey Sextet - Modern Mainstream (UK Fontana SFJL 919), Jane Fielding - Embers Grow (Japanese, LBJ-70229), Abdullah Ibrahim - Ekaya (Home) and Live At Sweet Basil Vol. 1, Bill Evans inc. At The Montreux Jazz Festival (JP, 23MJ 3031), At Town Hall Vol 1, Trio '65 and RE: Person I Knew, Ray Bryant, Tony Fruscella, Von Freeman, Russ Freeman/Richard Twardzik, Earl Bostic, Arnett Cobb, James Clay, Illinois Jacquet, Keith Jarrett, Art Blakey, Bobby Jaspar, Jazz Erotica, Sam Jones, Duke Jordan, Curtis Counce, Wynton Kelly, Mel Lewis, John La Porta and Shelly Manne. Condition is often lovely Ex to Ex+/archive (records) and neat VG+ to Ex+ (sleeves).
Collection of mixed ceramics to include an Art Deco Crown Chelsea China floral trio, Rye Pottery mug, Dutch studio pottery bottle vase with mottled salmon pink glaze (15.5cm high), Aynsley summer fruits twin-handled vase (8cm high), Cauldon China floral teacup & saucer, Copeland Spode George V coronation decanter & stopper, Spode ' Trade Winds ' pattern helmet-shaped milk jug, Stoke on Trent twin-handled baluster vase with hand painted figural decoration, signed J. Keeling (approx 31cm high), contemporary horn-shaped vase mounted by a Jaguar (approx 42cm long), etc
PAMELA BONE (1925-2021), Five Creative Colour Landscapes,printed c.2000-2006, five colour photographs, Cibachrome prints, each a manipulated image, some or all these prints are from multiple superimposed negatives, four signed in ink on the image, all with photographer's hand written notes taped verso regarding the images and framing, images approximately 31cm x 30cm, in glazed frames largest 54cm x 51cm Note: These photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey. Some frames appear to be reused and may have an earlier image concealed. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PAMELA BONE (1925-2021), Five Framed Creative Photographs,Two Shadow Leaves Nov 2009, overlapped reversed photogram of a skeleton leaf, unsigned, titled on note verso with 'These are my signature pix changed places .... These 2 shadow leaves are printed on American cotton 100% archival', image 24cm x 14cm, frame 38cm x 26cm, a collage black string of silk and foil-backed negatives of leaves, on orange ground, frame 56cm x 54cm, a colour composite leaf skeleton image, a woodland scene and farm machinery, all probably Cibachrome Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PAMELA BONE (1925-2021) Gelatin Silver Prints,photographed and printed 1960s and later, each with photographers wetstamp verso, 20+ animals (wildlife and pets), 60+ landscapes and architecture, 20+ taken in India, labelled ' B&W copies from Indian transparencies' with some contact prints etc. Note: Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NALâ€
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973).Drawing and dedication by Pablo Ruiz Picasso to Domingo Tormo.Ink on paper (bullfighting pamphlet).Signed, dated and dedicated.It presents a notarial act of 1989, where it indicates that the owner of the drawing is Hermenegildo-Domingo Tormo.Measurements: 21 x 27 cm; 40 x 45,5 cm (frame).It is a dedication and a small drawing handwritten by Picasso to the bullfighter Domingo Tormo on a leaflet of a bullfight in Arles in 1953. The dedication reads: "For Domingo Tormo. For you from your friend Picasso, here in Arles on 24 July 1953", and a drawing of two intertwined hands, one of which shows the lower part of the sleeve of a bullfighter's suit, symbolising the painter's friendship with the bullfighter.On the reverse is a print of a painting by Ruano Llopis.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
JUAN GOMILA (Barcelona, 1942)."Ondulación", 1980.Triptych.Oil on canvas.Signed, titled and dated on the back.Size: 250 x 30 cm. q.v.Juan Gomila is one of the leading artists on the Spanish post-Pop Art scene. He began his work in the sixties, focusing on the reflection on the value of colour and signs in a world saturated with signs. In 1974 he represented Spain at the Alexandria Biennial, winning First Prize, and three years later he also represented Spain at the São Paulo Biennial. In 1978 he won Second Prize for Painting at the VII International Biennial of Sport in the Fine Arts (Barcelona), and in 1980 he again represented Spain, this time at the Venice Biennial. In 2007 he began to work exclusively with digital photography, and the following year he presented a major retrospective exhibition at the Barjola Museum in Gijón. He is currently represented in the MNCA Reina Sofía, the Contemporary Art Museums of Vilafamés, Palma de Mallorca and Bialystock (Poland), the Biblioteca Comunale in Milan, the Museo Jovellanos in Gijón, the Museo de Bellas Artes de Asturias, the Textil de la Indumentaria in Barcelona, the Salvador Allende Museum in Santiago de Chile, the collections of the Consejo Superior de Deportes, Argentaria, Caja de Asturias, Azcona and Pere A. Serra and the Masaveu and Aena Foundations.
MANUEL SALINAS MILÁ (Seville, 1940).Untitled. 1985.Mixed media on paper.Signed and dated in the lower right-hand corner.Measurements: 50 x 56.4 cm.A self-taught painter, Manuel Salinas is one of the leading representatives of Spanish abstraction in the last twenty-five years. His first exhibition dates from 1962, and from then on he exhibited his work in Spain, Portugal, Morocco, Colombia, Sweden, the United States, Serbia, France, Greece, Bulgaria and Mexico. In 2003 two retrospectives were devoted to him, one in Seville, organised by the Caja San Fernando, and another travelling around Europe, with Sofia as the starting point, organised by the Ministry of Foreign Affairs. He has works in the Reina Sofía Museum, the La Caixa Foundation, the Andalusian Centre of Contemporary Art, the Contemporary Art Museums of Valladolid, Madrid and Tenerife, the Vázquez Díaz Museum and in the collections of the Bank of Spain, Olivetti, Argentaria, Endesa, BBV and Avianca (Barranquilla, Colombia). The artist also owns two works included in the book by the critic Francisco Calvo Serraller "Las cien mejores obras del siglo XX" (Madrid; TF and Sociedad Estatal España Nuevo Milenio, 2001).
EVA LOOTZ (Vienna, 1940)."Wings, leaves, fingers, mouths, marshes, canals, streets...", ca.1985.Mixed media on paper.Signed in the lower left corner with initials.Measurements: 46 x 34 cm (total).A Viennese artist who has lived in Madrid since 1965, Eva Lootz trained in her native city, where she studied Fine Arts, Musicology, Cinematography and Philosophy. Although she is mainly known for her sculptural work, Lootz also works in installation, drawing, printmaking, photography, video and sound, always focusing on her main concern: the relationship between matter and language. She began her exhibition activity in 1973, and since then she has held regular solo exhibitions both in Spain and abroad, in galleries and art centres such as the Galleriet in Lund (Sweden, 1981), the David Breitzel in New York (1990), the Barbara Faber in Amsterdam (1990, 1994, 1996), the South London in London (1994), the Fundación Pilar i Joan Miró in Palma (1996), the Luis Adelantado in Valencia (1997), the Borås Konstmuseum (Sweden, 1997) and the Museo Nacional Centro de Arte Reina Sofía in Madrid (2002). She has also participated in competitions, group shows and official exhibitions such as Expo'92 in Seville, and in 1994 she was awarded the National Prize for Fine Arts. She is currently represented in the MACBA in Barcelona, the MNCARS in Madrid, the Museum of Abstract Art in Cuenca, the Museum of Contemporary Art in Malmö, the CAAM in Las Palmas, the Patio Herreriano Museum in Valladolid and many other public and private collections.
JAUME PLENSA (Barcelona, 1955)."Man, III", 1983.Mixed media on paper.Attached certificate issued by the author.This work was exhibited at the Jordi Pascual gallery (Barcelona), in 2017.The glass is broken, but it does not affect the work.Signed and dated in the upper area.Measurements: 140 x 35 cm; 150 x 44,5 cm (frame).This work belongs to the first stage of Plensa's artistic career, who began to exhibit in 1980. In it he constructs the keys to what would later become his most recognised works, the representation of the human figure, a reflection on identity and the interaction between man and space. With this work, Plensa proposes a journey through simple strokes, which he sometimes reduces, while at other times he loads it with matter. He takes us to a mythical, telluric world, reminding us in a certain way of primitive painting, focusing his attention on the gesture and its expressiveness.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he 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.
EVA DAVIDOVA (Bulgaria, 1969)."Untitled (Dani)", 2007.Digital photograph, copy 2/3.Signed, titled and numbered on the back.Label of the gallery N2, Barcelona, on the back.Measurements: 100 x 70 cm.Eva Davidova, in the photographic series to which this work belongs, works with spatial and corporal displacement. She plays with visual paradoxes and unnatural movements, explores the poetics of the absurd and confronts viewers with their own interpretations. A Bulgarian-Spanish artist living in New York, Eva Davidova uses her art to vindicate the ecological disaster and the political implications of technology, among other everyday social issues, which she works through the absurd. Her work has been exhibited at the Bronx Museum, the Everson Museum, the Albright Knox Museum, the MACBA, the Círculo de Bellas Artes, the CAAC, the Centro de Arte Contemporáneo La Regenta, the Cervantes Institutes in Sofia and Tangiers, as well as in numerous private galleries. He has won several international awards, including the M-Tel Prize for Contemporary Bulgarian Art and a Residency Unlimited grant in New York from the National Endowment for the Arts.
JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990)."In the kitchen".Oil on canvas.Signed in the lower left corner and on the back.Work exhibited in the anthological exhibition of the author held in 1991, of which a catalogue is enclosed (although the work in question does not appear in the catalogue) and a request to be exhibited in the exhibition.It has a small patch on the back.Measurements: 116 x 89 cm; 124 x 97 cm (frame).Joan Brotat trained at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona, and in 1950 he took part for the first time in an exhibition, invited by Ángel Marsà to his Cycle of Experimental Art. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. Brotat was awarded the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among other distinctions. He is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Modern Art Museums in Madrid and Alexandria and the Municipal Museum in Valls.
VIVIANE BRICKMANNE (Belgium, 1957)."Mutant V", 2019.Patinated bronze. Copy 1/7.Enclosed certificate issued by the artist.Work cast in Sphinx Foundry.Signed and justified on the base.Measurements: 87,5 x 15 x 24 cm.Brickmanne began her exhibition career in 2003, participating in various group exhibitions. Since then he has participated in various national and international exhibitions, both as a group and solo artist, including: group exhibitions at AAF New York in 2013, Art Santa Fe, at the Gaudí Gallery in South Korea, at AAF, Hamburg in 2014, at Feriarte in 2017, at SumArte at the Ateneo de Madrid in 2018 and at Studio Lisboa in Portugal in 2018, among others. Individually she has shown her work at the Belgian pavilion in Zaragoza in 2008, at the Atalante gallery in Madrid in 2011 and at the Hotel Hisperia in 2017. She has been awarded several prizes in recognition of her work, including the trophy for the Plus es más awards, Bayard editions, the Cara al viento prize from the Belgian and Luxembourg Chamber of Commerce in Spain and the Spanish-Dutch forum and the First Primavera Sculpture Prize from the International Association for the Arts. His works have also been published in the magazine Plaform Prees, April 2000, the magazine Plus es mas in 2012 and the project on conservation of contemporary sculpture. Study of the sculpture Eurydice for the Faculty of Fine Arts, Complutense University of Madrid. 2014.
JAUME PLENSA (Barcelona, 1955)."Untitled" 2012.Painting on cotton (T-shirt).Signed and dated.Size: 73 x 80 cm; 82 x 90 cm (frame).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 both in terms of material and form, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he 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.
FREDERIC AMAT NOGUERA (Barcelona, 1952). La única solució" ("The only solution")Collage and mixed media on paper.Signed and dated in the lower central margin. Titled in the upper margin.Size: 31 x 23 cm; 44 x 35 cm (frame).A painter, engraver and set designer, Amat's work belongs to the experimental and conceptual tendencies of the 1970s. His themes revolve around death, violence, sex and architectures, real or imaginary. Trained in Barcelona, between 1975 and 1982 he travelled around North Africa, Mexico and the United States. He has not only worked in the field of painting, but has also developed his facet as a sculptor, as well as creating stage designs linked to dance and theatre. He has directed and organised various opera performances, such as Caldara's "Maddalena ai piedi di Cristo". He has exhibited his work both nationally and internationally, notably in France, Germany, Italy and the United States. Between 1993 and 1994 he was the subject of a major retrospective at the Museo Rufino Tamayo in Mexico, the Joan Miró Foundation and the Instituto de América in Granada. In 2007 he was awarded the National Visual Arts Prize of Catalonia, granted by the Catalan Government, in recognition of the exhibition held at the Carles Taché Gallery. Today his work is divided between important private collections and different art centres, notably the Museum of Contemporary Art of Barcelona.
SALVATORE GARAU (Italy, 1953)."Fondamenta", Gandía, 1990.Oil on canvas.Signed, dated, titled and located on the back.Measurements: 140 x 140 cm.Italian artist born in Santa Giusta (Sardinia), Salvatore Garau trained at the Academy of Fine Arts in Florence, graduating in 1974. After an initial period devoted to music, he focused his career on visual art. He held his first solo exhibition in 1984, and since then has shown his work in various European cities. In 2003 he participated in the Venice Biennale and held an exhibition at the European Parliament (Strasbourg). Six years later he held a major solo exhibition at the Musée d'Art Moderne et Contemporain in Saint-Étienne (France). He is currently represented in the Museo del Novecento and the Pablleon of Contemporary Art in Milan, the Museum of Modern Art in Bologna, the Museum of Modern and Contemporary Art in Saint-Étienne, the MACAM in Maglione, the Museum of the Italian Embassy in Seoul, the Sala Parpalló in Valencia and other important collections.
"Ben", BEN VAUTIER (Naples, 1935)."Life is competition", 1992, from the Olympic Centennial Suite.Silkscreen on 270 gsm Vélin d'Arches paper, copy 138/250.Signed and justified by hand.Size: 63 x 90 cm.Benjamin Vautier has been, as well as a visual artist, a public agitator and art critic, interested in social vindication and multiculturalism. For him, all art must mean a shock, produce an intense emotion or reaction, and be novel. Although he was born in Naples, he spent his childhood in Naples, Turkey, Egypt, Greece and Italy. In 1949 he moved to Nice, where he spent most of his career. His contact in Nice with artists such as Fontan, Malaval, Klein and Arman was fundamental in shaping his style. In the 1960s he travelled to New York where he took part in the actions of the Fluxus group. His work would also become impregnated with conceptualism and minimalism, essential in his conception of art, which for him is not a purpose but a vehicle, a form of communication.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial trends, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.
JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990)."Characters".Ink and pencil on paper.Unsigned.It shows dirt, damp, wrinkles and faults.Size: 37 x 37 cm; 60 x 60 cm (frame).Joan Brotat studied at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona. He held his first exhibition on the initiative of Ángel Marsà, who invited him to take part in his Cycle of Experimental Art in 1950. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. After an initial period characterised by a modernist-influenced language and conventional subject matter, his style evolved towards a primitivism that made him very famous. Brotat adopted the viewpoint of the old Catalan Romanesque painters to the narration of contemporary life, bringing an apparent naivety to his compositions that earned him notable success. During these years he also experimented with informalism, collage and gestural art within the Dau al Set group. In the 1960s, when he returned to figurative art, his style became consolidated, characterised by figures with large, melancholic faces, the application of colours in flat patches and the absence of perspective in his compositions. His awards include the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among others. Brotat is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Museums of Modern Art in Madrid and Alexandria and the Municipal Museum in Valls.
Mixed Miniature Art and Prints collection. Quantity of Prints, Cards, pencil drawing, sticker and Signatures from British contemporary Artist Marco Cecerne(Born in Liverpool 1960's). H. Bletcher '38 - Fine pen drawing titled 'Earls Yard 2/25'. 2 x David Binns tiny Cockerel Signed prints, Felix Blow rare stock 1987 print on page. The circular Union Jack sticker measures 11cm diameter
A Contemporary Banksy stencil on board depicting the smiling grim reaper. Measures approx; 45cm x 40cm. IMPORTANT NOTES:According to Pest Control 'Free Art' was not made for trade, therefore Pest Control refuses to authenticate or verify the existence of any 'Free Art' works. As such, this lot is sold STRICTLY 'as is' with no guarantees or warranties implied or otherwise, and are sold as attributions to Banksy's only.
Spanish or French school of the 17th century. Follower of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."The Descent from the Cross".Oil on panel. Engatillado.Size: 63 x 46 cm; 80 x 63.5 cm (frame).The present panel is a faithful reproduction of the painting of the same subject, "The Descent from the Cross", painted by Peter Paul Rubens in 1612. It is the central part of a triptych, which also shows the Visitation of the Virgin and the Presentation of Jesus in the Temple. It is kept in Antwerp Cathedral, Belgium. The author of the present work may have become acquainted with Rubens' painting through a contemporary engraving by Lucas Emil Vorsterman, as is attested by an engraving identical to the present work in the Rijks Museum.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, such as the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family was originally from. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral. By this time Rubens was already the leading painter in Flanders and it was in his workshop that outstanding masters such as Anton van Dyck and Jacob Jordaens were trained. Today works by Rubens are to be found in the most important collections throughout the world, including the Prado Museum, the Hermitage in Saint Petersburg, the Louvre in Paris, the Mauritshuis Gallery in The Hague, the Metropolitan Museum in New York, the National Gallery in London and the Rijksmuseum in Amsterdam.
DAVID TENIERS "The Young Man" (Antwerp, ca. 1610 - Brussels, 1690)."Kermesse".Oil on canvas. Relined.Attached report issued by the art dealer Jacques Helft (France, 1891 -1980).With repainting and restorations.Signed in the lower right area (barrel).Measurements: 16 x 21 cm.The canvas shows a rural scene in which some peasants celebrate a meal and different games in front of several houses. Thus recreating a stylistic pattern typical of the genre scenes by David Teniers (Antwerp, 1610 - Brussels, 1690). The scene features some of the pictorial devices popularised by the young David Teniers, who succeeded in revitalising the genre. In depicting these popular festivals, Teniers departed from the aesthetic and compositional schemes of Jan Brueghel "the Elder", repeating the same idyllic vision of the peasant world that was also widely used in Flemish literature of the time. He depicted the Kermes or Kermesse, the name given to neighbourhood festivals with food and drink stalls, where games of skill, children's games, raffles and artistic performances were held.The son of David Teniers I, in his youth he remained faithful to his father's style. However, he soon specialised in genre painting, which was closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also the artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence extended into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.
AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Ceria temblor", 1995.Oil on canvas.With label on the back from Fauna's Gallery (Madrid).Signed in the lower right corner.Measurements: 27 x 38 cm; 40,5 x 48,5 cm (frame).A surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.
NURIA LLIMONA RAIMAT (Barcelona, 1917 - 2011)."Calvary".1964.Fire enamelled terracotta.On wooden panel.Signed and dated on the back.It presents cracks and damages.Measurements: 41 x 27 cm (Christ); 47,5 x 33 cm (frame).Daughter of the painter Joan Llimona and niece of the sculptor Josep Llimona, Núria discovered her early vocation at the age of twelve. During the 1930s she studied at the Barcelona School of Fine Arts, which was closed during the years of the Civil War because of the danger of bombing, given its proximity to the sea. After the war, Llimona resumed his studies and obtained his degree, which enabled him to teach for fifteen years at the same school. He held his first solo exhibition at the Syra gallery in Barcelona, and since then he has held personal exhibitions at other galleries such as Novell and Parés, as well as with different groups. She has also taken part in official exhibitions, winning several prizes, and was president of the 9th and 10th editions of the Salón Femenino de Arte Actual. In 2000, Núria Llimona received the Sant Jordi Cross, and in 2006 she was awarded the Barcelona Medal of Honour. She is currently represented in the Museums of Contemporary Art in Madrid and Barcelona.
Pair of Venetian torchbearers, late 19th century.Carved, polychromed and gilded wood.Electrified for lamps.Measurements: 174 x 31 x 32 cm. q.c. (total measurements).African models were used to characterise this type of sculptural furniture which was popular among the aristocratic classes in the Baroque period, but which the decorative art of the 19th century recovered, endowing them with new aesthetic connotations. As we can see, they have been carved, stewed and polychromed with exquisite care. The suppleness of the bodies, the curled hair, the brocade of the garments, the folds and pleats of the drapery, the soft cushions... every detail reveals the high quality of the carving. In keeping with the contemporary taste of the time, the neoclassical imprint can be seen in the lightness of the postures, the elegance of the movement, the harmony of the proportions and the physiognomic features. This type of subject matter, or the representation of oriental characters, began to develop in the aesthetic currents of 17th century Venice, and became very successful in the following centuries. It came to dominate different areas of the decorative arts, which was initiated by the cabinetmaker and sculptor Andrea Brustolon (1662-1732). His furniture was characterised by the abundant presence of sculpture applied practically in the round. His most characteristic figures were black figures such as the one shown here, ebonised and painted, which served as supports for large pieces of furniture or were free-standing. These figures were so popular throughout Europe that they became a key element in luxury furniture from the Baroque period until well into the 18th century and, as part of the historicism of the 19th century, they were given a new lease of life in the 19th century. They are pieces of exceptional carving quality, conceived as independent works of art. The iconography is the result of the taste for the exotic that characterised the 18th century, and which continued into the 19th century through the Romantic spirit, which liked to reflect and fantasise about everything that was different and distant, both in time and space. This piece recreates the idealised eighteenth-century Venetian world, which in the new industrial century symbolised an elegance and luxury that could never be recovered. This type of piece was meticulously and exquisitely worked, paying as much attention to the carving as to the polychromy, which freely and fancifully reproduced rich embroidered fabrics.
VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Twilight".Oil on canvas.Signed in the lower left corner.Work exhibited at the Witcomb Salon in Buenos Aires, 1930. Referenced in the catalogue of the exhibition with n.84.Measurements: 91 x 91 cm; 112 x 112 cm (frame).This is a type of composition that Valentín Zubiaurre used repeatedly, and which here manages to express a genuine feeling: with the members of a family in the foreground (in this case, a grandmother and her grandchildren) and the Basque landscape opening up behind them, with fields, farmhouses and rocky outlines. In the self-absorbed faces, the contrast between the smoothness of the young faces and the aged skin of the old woman stands out. The ochre and sienna tones dominate the whole, lending the painting a melancholy patina. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, with the development of an art with a Romantic, costumbrista and realist heritage, which focused on depicting subjects and characters that reflected a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
JOAN BROTAT VILANOVA (Barcelona, 1923 - 1990).Untitled.Set of three serigraphs on paper.Edition of 25 copies.Signed and justified.Slight damp stains.Measurements: 38 x 41 cm (total of the largest).Joan Brotat studied at the School of Arts and Crafts and at the Ateneo Obrero in Barcelona. He held his first exhibition on the initiative of Ángel Marsà, who invited him to take part in his Cycle of Experimental Art in 1950. That same year he made his individual debut at the El Jardín gallery in Barcelona. From then on his work could be seen frequently at the Salones de Mayo and Octubre in Barcelona, and finally he made the international leap, holding more than a hundred exhibitions all over the world. After an initial period characterised by a modernist-influenced language and conventional subject matter, his style evolved towards a primitivism that made him very famous. Brotat adopted the viewpoint of the old Catalan Romanesque painters to the narration of contemporary life, bringing an apparent naivety to his compositions that earned him notable success. During these years he also experimented with informalism, collage and gestural art within the Dau al Set group. In the 1960s, when he returned to figurative art, his style became consolidated, characterised by figures with large, melancholic faces, the application of colours in flat patches and the absence of perspective in his compositions. His awards include the Grand Prize of the Mediterranean Countries of Alexandria (1961), the Rafael Zabaleta gold medal and the City of Tarrasa Prize, among others. Brotat is represented at the CDAN of the Beulas Foundation in Huesca, the Museum of Contemporary Art in Barcelona, the Museum of Fine Arts in Bilbao, the Museums of Modern Art in Madrid and Alexandria and the Municipal Museum in Valls.
PAUL GUSTAVE DORÉ (Strasbourg, 1832-Paris,1883)."The Divine Comedy".Set of three photogravures.They show stains of dirt and some wrinkles on the paper.Measurements: 24 x 18 cm (print, x3) ; 47,5 x 35 cm (paper, x3)Set of three photoengravings representing scenes from the Divine Comedy, written by Dante. Paul Gustave Doré was a French Alsatian artist, painter, sculptor and illustrator, considered in his country the last of the great illustrators. He began his artistic training working with Charles Philipo, who published one lithograph a week for him. He later received various commissions from François Rabelais, Honoré de Balzac and Dante Alighieri, which meant that, while still very young, he was paid more than his contemporary Honoré Daumier. In 1853 he illuminated some of Lord Byron's works. In 1862 he travelled around Spain with Baron Davillier. As a result of the trip, the following year he published a series of chronicles on Valencia, Galicia, Andalusia, with specific stays in Granada, Madrid and other Spanish capitals. The work was included in the collection Le Tour du Monde. In the 1860s, Doré illustrated a French edition of Miguel de Cervantes's The Ingenious Hidalgo Don Quixote of La Mancha, based on his life experience in Spain. Doré later signed a five-year contract with the publisher Grant & Co. This meant that he had to spend at least three months a year in London. The book London: A Pilgrimage, with 180 engravings, was published in 1872. Although it was a commercial success, many critics disliked the publication, scandalised by the fact that Doré depicted London's poverty in his work. He was accused by the Art Journal of being a "fantasist rather than an illustrator", and denounced in other leading journals such as the Westminster Review. However, the success of London: A Pilgrimage led to many more commissions from English publishers.
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Sala Gaspar, Barcelona".Lithograph on paper, copy 3/3.Signed and dated in pencil by Pablo Picasso.Presents certificate from the Sala Gaspar.Measurements: 24 x 18 cm; 39 x 34 cm (frame).This lithograph is a Christmas greeting card from the 1960s from the Sala Gaspar in Barcelona. It is signed by Pablo Picasso, both in plate and by hand. It is an invitation addressed to Marisol de Villanueva, an actress and director of western cinema, who was also a good friend of the cubist artist.Pablo Ruiz Picasso is the great genius of contemporary painting. The creator of Cubism together with Braque, his capacity for invention and creation places him at the pinnacle of world painting. He was born in Malaga, where his father was a drawing teacher and director of the Municipal Museum. The Ruiz Picasso family soon moved to A Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the style of the school was entirely academic, the painter soon came into contact with modernist groups which changed his form of expression. Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything, but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with bright colours and strange shapes.In the 1950s he made several series of important classical paintings which he reinterpreted in homage. By the 1960s he had become a legend in the art world and the artist lived his last years at the Château de Vouvenargues, where he was able to continue his work until the end of his life. An example of this work is this Christmas invitation.
MATTEO MAURO, (Catania, Sicily, 1992)."She", 2020.Resin sculpture.Finished with gold and white satin varnish.Limited edition of 190/200.The work will be available approximately 15 days after payment has been made.Dimensions: 25 x 10 x 10 cm.Matteo Mauro observes and explores the world with the eyes of an artist. He looks for new solutions and embraces old ones in his infinite mediation between reality and dreams. His artistic process mixes analogue and digital tools to generate artworks with a distinctly contemporary sensibility, which critics have deemed hyper-contemporary. Matteo Mauro's studio creates a wide range of artworks, including sculptures, paintings, video art, installations and augmented reality pieces.The artist was born in Sicily, but has lived and travelled in many countries. He spent more than a decade in London, where he first established his artistic practice and continues to live today. Mauro has worked and studied with several influential designers, including Ron Arad and Isaie Bloch, and has taught Digital Communication at London's LSBU and UCL universities.Mauro has received numerous awards for his work, including the Master of Art 2018 and the European Excellence of Arts and International Van Gogh Prize, awarded by Roy Dalí, son of Salvador Dalí.His pieces have been exhibited in several museums and galleries, including the Royal Academy of Arts, the Museo Marte, the Museo della Fabbrica, Le Salon des Indépendants at the Grand Palais in Paris, the Ing-Creatives in Dubai, the Songyang Museum Contemporary Art, the Fondazione Museo Crocetti, while some exhibitions are scheduled at the Datong Art Museum and the MACAM Modern and Contemporary Art Museum in the near future.However, Matteo Mauro does not limit himself to painting or creating artworks, but is also the author of the worldwide distributed book Inscripciones Micromegálicas. Matteo Mauro's studio is currently located in Catania, Italy.
RAFAEL CANOGAR GÓMEZ (Toledo, 1935).Untitled".Mixed media on paper glued on panel.Signed in the lower left corner.Size: 18 x 14 cm; 40 x 36 cm (frame).Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon entering the path of abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a visiting professor at Milles College California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. Canogar has given workshops and lectures in several European and American countries, and has participated in juries of international prizes and biennials. He has also been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the Sofia International Painting Triennial (1982), the National Prize for the Plastic Arts in Madrid (1982), etc. He has also been named Chevalier de l'Ordre des Artes et Lettres of France, has received the Encomienda de la Orden de Isabel la Católica, is a numerary member of the Academia de San Fernando and Doctor Honoris Causa by the U.N.E.D. Canogar is currently represented in the most important modern art collections around the world, such as the Museo Reina Sofía, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Museo Rufino Tamayo in Mexico and the Chicago Art Institute, among many others.
VIVIANE BRICKMANNE (Belgium, 1957)."Small Egyptian head".Patinated bronze. Exemplary 2/25Signed on the lower back.Measurements: 22 x 16 x 9 cm.Of Belgian origin, Viviane Brickmanne, lives and works in Madrid. She graduated in Philosophy and Letters at the University of Louvain. In fact, this classical, literary and poetic training was a conceptual influence in her first figurative sculpture. In which the concept of air and space was a premise that he later developed in his winged figures and in works of a more abstract nature where ascending lines always prevail. This content can also be seen in his "Mutants" sculptures, which represent stylised young women trying to escape from the earth and take flight towards an unattainable freedom, as their metallic or vegetable wings keep them anchored to the ground. Underlying these works is the idea of fragility and disintegration. He has worked with different techniques, among which bronze stands out. Aluminium and brick where he sometimes incorporates leaves or decomposing pomegranates. Thus counterposing an organic element with a manufactured one, and at the same time the concept of the feminine with the masculine.Brickmanne began her exhibition career in 2003, participating in various group exhibitions. Since then she has participated in several national and international exhibitions, both as a group and solo artist, including group exhibitions at AAF New York in 2013, Art Santa Fe, Gaudi Gallery in South Korea, AAF Hamburg in 2014, Feriarte in 2017, SumArte at the Ateneo de Madrid in 2018 and Studio Lisboa in Portugal in 2018, among others. Individually she has shown her work at the Belgian pavilion in Zaragoza in 2008, at the Atalante gallery in Madrid in 2011 and at the Hotel Hisperia in 2017. She has been awarded several prizes in recognition of her work, including the trophy for the Plus es más awards, Bayard editions, the Cara al viento prize from the Belgian and Luxembourg Chamber of Commerce in Spain and the Spanish-Dutch forum, and the First Primavera Sculpture Prize from the International Association for the Arts. His works have also been published in the magazine Plaform Prees, April 2000, the magazine Plus es mas in 2012 and the project on conservation of contemporary sculpture. Study of the sculpture Eurydice for the Faculty of Fine Arts, Complutense University of Madrid. 2014.
MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Virginity of colour", 2022.Pastel and oil on canvas.Attached certificate issued by the artist.Signed and dated on the back.Measurements: 90 x 90 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.
JAUME PLENSA (Barcelona, 1955).Untitled.Etching in aquatint.Hand signed in the lower margin.Size: 22 x 13 cm; 39 x 29,5 cm (frame).Jaume Plensa studied at the Llotja School and at the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums 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.
RICARDO RODRIGUEZ, (Valencia, 1992)."3G".Oil on canvas adhered to board.Size: 146 x 114 cm.Ricardo Rodriguez's beginnings in the artistic field started in his childhood thanks to his grandmother Presen Rodriguez, one of the most important designers in Valencia. His aptitudes for drawing and painting are remarkable, and he also managed to forge his own personality and language. Her inspiration comes from the contemporary world, from the present day, although, on occasions, she decides to look back in the history of art to come up with creations such as the one in this lot. "3G", a very modern title for a work that draws on the classical past rescued in the 18th century by Antonio Canova with "The Three Graces". The almost essential part of the composition, its facial expressions, movements and the relationship between them, is rescued from the sculptural ensemble. The cold texture of the marble becomes latent in this representation in which the three daughters of Zeus and Eurynome: Euphrosine, Aglaya and Talia, have been captured in a delicate and graceful manner.
Loading...-
16019 item(s)/page