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* JOE MCINTYRE (SCOTTISH b. 1940),EVENING IN THE CITY KIOSK, BASTILLE, PARISoil on canvas laid on board, signedimage size 26cm x 20cm, overall size 45cm x 38cm Framed and under glass.Note: Joe McIntyre was born in Dundee in 1940. His work has been exhibited extensively around the UK and in the USA. Collections include: HM The Queen, HRH The late Duke of Edinburgh, HRH The Late Princess Margaret, Dundee City Chambers, J & B Scotch Whisky (New York), Dundee City Art Gallery, Pernod (London), The Scottish Arts Council, Fine Arts Society (London), Tayside Regional Council, Arbroath Art Gallery, The Lincoln Centre (New York), Johnston & Johnston (New York) and numerous other corporate collections. In the Scottish Contemporary Art Auction of 5th July 2020 "Summer in the City, Dundee" (lot 632) set yet another world auction record for McIntyre, selling for £1900 (hammer).

* AVRIL PATON (SCOTTISH b. 1941),THE ASTROLOGER (LAMURA VON BOELLING) watercolour on paper, signed, titled and dated 1994 label versoimage size 46cm x 34cm, overall size 77cm x 68cm Mounted, framed and under glass. Label verso: The Gatehouse Gallery, Glasgow.Comment: The painting was kindly authenticated for us by Arvil herself. Paton was able to provide additional context for the picture, saying that although the label verso dates the picture as 1994, it was painted in 1993, and purchased from the gallery in 1994. The portrait is of Lamura Von Boelling, a Canadian astrologer who came to Glasgow in the 1980s and taught astrology to many in the city. Note: a rare early work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by The Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1980/90s explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her earlier paintings are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000 (hammer). Paton's early work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.

* PETER HOWSON OBE (SCOTTISH b. 1958),INTO THE LIGHToil on canvas, signedimage size 120cm x 90cm, overall size 140cm x 110cm Framed and under glass.Note: A classic large Howson composition with a title to match. In The Scottish Contemporary Art Auction of 21st August 2022, lot 70 "Crucifixion" by Peter Howson sold for £11,250 (hammer) and almost as impressively, lot 115 "Gorlitz" in the same sale, a small (23 x 30cm) mixed media drawing on paper by him sold for £1400 (hammer).Condition is good overall.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),THE YELLOW GABLE (KILBARCHAN)oil on board, signed and dated '83, titled and further dated labels versoimage size 31cm x 61cm, overall size 40cm x 70cm Framed.Handwritten artist's label verso.Label verso: The Macaulay Gallery, Stenton.Comment: In our opinion, a special Kilbarchan picture. Birnie's compositional skills are strongly evident in this specific view of the village he lived in and loved. No doubt Birnie will have immediately realised how "The Yellow Gable" presented the opportunity to legitimately introduce a big block of bold colour which will have made painting this scene irresistible. His "The Red House" (referred to below) is another example of how Birnie understood how featuring one strong and perhaps unexpected colour can transform and define a composition.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.Condition is good overall.

* EOGHANN MACCOLL (SCOTTISH b. 1970),FREE ON THE EDGE - SEA AT BLACK EDGEmixed media, titled labels versoimage size 19cm x 23cm, overall size 28cm x 32cm Framed and under glass.Artist's label verso.Label verso: The Open Eye Gallery, Edinburgh.Note: Eoghann MacColl was born 1970 in Inverness. He studied at Duncan of Jordanstone College of Art in Dundee and then completed his Masters in European Fine Art at Winchester School of Art in 1994. In 2005 he won the prestigious Alastair Salveson Travel Scholarship. As a visual artist, place and our relationship to it, are integral to his (Eòghann’s) practice. The sense of awareness of place or how we ‘see’ somewhere, is bound in every sensory experience. Sometimes an instant or immediate, other times more archaic and historical. We walk in the footsteps of others as others will walk in ours. The sun and moon return to the same places, the seasons return. For Eòghann a place is never simply a view, it is an amalgam of multiple views and experiences. Eòghann has delivered contemporary visual art workshops for many years in every environment either in Gaelic or English. He has exhibited widely in Scotland and beyond, recently securing two VACMA Awards from Creative Scotland. He is represented by Roger Billcliffe Gallery (Glasgow).

* JONATHAN ROBERTSON (SCOTTISH b. 1947),TALES OF THE SEAoil on linen, signed, titled label versoimage size 56cm x 61cm, overall size 78cm x 93cm Framed. Handwritten artist's label verso.Label verso: The Lemond Gallery, Glasgow, where acquired in September 2014.Note: Jonathan Robertson was born in Banff in 1947 and trained at Glasgow School of Art. He has exhibited widely at home and abroad including the Artists Union Gallery Moscow, The Barbican, Royal Glasgow Institute, Royal Scottish Academy, Scottish Society of Artists, Smith Institute Sterling and the Mall Galleries, London. His work is highly collectable and is represented in institutional collections including Arthur Andersen and Co., Ernst and Young, Scottish Television plc, Glasgow Art Gallery, the Universities of Strathclyde and Stirling, Hilton Hotels and Loretto School. His galleries include: Thompsons Gallery (London), The Contemporary Fine Art Gallery (Eton), Lemon Street Gallery (Cornwall) and Lemond Gallery (Glasgow). Condition is good overall.

* STEPHEN BROWN RBA,SUMMER HAZEoil on canvas, signed and titled verso image size 46cm x 50cm, overall size 58cm x 61cm Framed.Label verso: Royal West of England Academy Exhibition.Note: Stephen Brown was born in Chard Somerset in 1947. As a young artist he studied contemporary art at the Somerset College of Art. Later in the 1970's he trained and worked alongside artist Patrick Larking RP ROI. As a result, Stephen came to admire and respect such artists as Sickert, George Clausen and Augustus John, all of whom had taught and befriended Larking while he was studying at the Royal Academy of Art. Stephen Brown was elected a member of the Royal Society of British Artists (RBA) in 1997. This was after a recommendation from Ken Howard RA, an admirer of Stephen Brown's contemporary paintings. At the beginning of 2003 he was elected membership of The Small Paintings Group. Brown has exhibited at the Royal West of England Academy since 1980 and the Royal Academy of Art Summer Exhibitions from 1990. Brown's paintings can also be found at The New English Art Club Art Exhibitions and the Royal Society of British Artists. Painting almost exclusively in oils Stephen Brown is constantly drawn to painting subjects near his Devon home. Brown is a master at depicting the hazy warm Summer Days in the Devon, Wiltshire and more recently Gloucestershire fields. Stephen is also a tremendous Marine artist producing atmospheric paintings with the distinctive shimmering light of British beaches and coastal scenes. Stephen Brown has published numerous articles on oil painting for International Artist Magazines. He has also participated in the BBC production Art-The Big Event where Rolf Harris led a team of artists to paint a giant replica of Constable's The Hay Wain. Brown exhibits at the Red Rag Gallery and at other leading UK galleries.

JOHANN ZOFFANY (1733-1810) Edward Townsend Singing 'The Beggar' painted in 1796, oil on mahogany panel, 76.2 x 63.5 cm; 30 x 25 inches, in its original eighteenth-century carved frame.Provenance: Johann Zoffany;Zoffany sale, Robins, 9th May 1811, lot.89;Henry Harris;Harris sale, Robins, 12th July 1819, lot.6;Thomas Wilkinson (1762-1837);Jane Anne Brymer (1804-1870), daughter of the above;William Ernest Brymer (1840-1909) of Ilsington House;Wilfred John Brymer (1883-1957); son of the aboveConstance Mary Brymer (1885-1963), sister of the above;John Hanway Parr Brymer (1913-2005); nephew of the above;Maureen Brymer (1924-2021) by inheritanceExhibited: London, Royal Academy, 1796, no.85 (‘Mr Townsend as the beggar in the pantomime of Merry Sherwood’);London, Royal Academy, Exhibition of Works by the Old Masters, 1893, no.44 (‘An Actor’)Literature: Victoria Manners and George Charles Williamson, John Zoffany RA: His Life and Works 1735-1810, London, 1920, p.276; Mary Webster, Johann Zoffany, New Haven and London, 2011, p.585 Martin Postle, Johann Zoffany RA: Society Observed, exh. cat., New Haven (Yale Center for British Art), pp.44-45, reproducedThis little-known theatrical portrait is one of the finest works by Johann Zoffany from the end of his career. Depicting the comic actor Edward Townsend singing ‘The Beggar’, a song by the playwright John O’Keeffe written and set to music by William Reeve for Merry Sherwood, or Harlequin Forester by William Pearce, an entertainment on the theme of Robin Hood. Zoffany captures Townsend with his mouth open wide in the midst of the song. This unusually animated portrait is rendered with Zoffany’s characteristic attention to the minute details of costume and physiognomy. Zoffany was a pioneer of theatrical portraiture, where individual actors are portrayed in the roles for which they were most celebrated, it is a genre which was uniquely developed in Britain in the eighteenth century. Here the comic singer Edward Townsend is shown on stage singing in the midst of William Pearce’s popular pantomime Merry Sherwood. But rather than merely being an illustration of the entertainment, Zoffany paints a portrait of Townsend en role, exploiting a complex layer of relationships between audience and actor, viewer and painting. Zoffany’s theatrical portraits are regarded as some of his most innovative and beguiling works and only a handful remain in private collections, of which this is one of the finest. Preserved in outstanding condition and painted on a mahogany panel, this portrait has not been on the open market since the early nineteenth century and has not been exhibited in public since 1893.By 1796 Johann Zoffany was at the height of his powers as a portrait painter, particularly paintings of complex conversation groups and interiors scenes, rich with domestic and decorative details. Recently returned from a period spent in India, where he had completed a series of remarkable images of European and Indian sitters, including Colonel Maudaunt’s Cock Match now in the Tate, London. Zoffany re-established himself as one of London’s leading portrait painters. Zoffany had found success in London in the 1760s producing a series of remarkable and hugely popular portraits of famous actors. Zoffany worked particularly closely with David Garrick, commemorating his most celebrated theatrical roles in a series of largely comic portraits.The comic singer Edward Townsend sang The Beggar at the first performance of Pearce’s popular pantomime Merry Sherwood at Covent Garden on 21 December 1795. Townsend made the song popular and it became a favourite peace in his repertoire: he sang it at his benefit on 20 May 1796, and was still rendering it at Covent Garden in June 1800. The entertainment, and Townsend’s performance, were an immediate sensation. The success of the pantomime may well have prompted Zoffany to paint Townsend and to submit the painting for the annual exhibition at the Royal Academy in 1796, where the painting is described in the exhibition catalogue as: ‘Mr Townsend in the Beggar, full of expression and character, and a striking resemblance.’ The painting was hugely admired by contemporaries at the annual exhibition. The critic Anthony Pasquin noted: ‘Mr Townsend, the Comedian in the Character of a Beggar. Zoffany. This portrait is eminently characteristic, with a strict adherence to the minutiae of the stage dress. The countenance partakes of all the muscular whim of the original contour and expression of this supplicating visage.’Robin Simon has noted that in his theatrical portraits, such as this, Zoffany’s: ‘nuanced approach enabled him to create a distinctive effect: that of depicting the actors both in and out of character at the same time. This duality lies at the heart of his achievement; but it also reflects the contemporary practice of a number of leading comic actors who, in a tradition that survives in the British pantomime, would interact, sometimes even verbally, with the audience during performance.’[1] There is a sense that in the present portrait Zoffany has caught Townsend totally absorbed in his performance. It is this duality which made Zoffany’s theatrical portraits so publicly successful.The present painting has not been publicly exhibited since 1893, when it was lent to the Royal Academy’s annual exhibition of old master paintings, as a consequence it has remained largely unknown to scholars. Mary Webster, in her authoritative 2011 monograph on Zoffany, assumed the painting was missing. The present portrait remained in Zoffany’s collection and was included in his posthumous auction in 1811. It was acquired in 1820 by Thomas Wilkinson the son of Jacob Wilkinson who was one of Zoffany’s most important supporters. A Director of the East India Company, Wilkinson acquired The Watercress Girl by Zoffany in 1780 and its pendant, The Flower Girl. Zoffany also painted his portrait in 1782 (The Chequers Trust) and Wilkinson, in turn, was one of those who supported Zoffany’s petition to travel to India. The painting passed to Thomas Wilkinson’s daughter Jane Anne, who married the Reverend William Thomas Parr Brymer, the painting has remained by descent in the Brymer family ever since.

Three Framed Wyland Lithographs, all mounted, framed and glazed in contemporary black frames. Depicting underwater sea scenes, whales, turtles, etc. Beautifully coloured. Largest 35" x 30" overall. Together with a hardback book 'The Art of Wyland'.

ART PEPPER. Two 12" long plays. 'Art Pepper Today,' GXY-5119, Galaxy Records, Master Release, g to vg sleeve, near fine disc, 1979; 'The Trip,' S7638, Contemporary Records, MasterRelease, vg disc, fine disc, 1977. (2)

João Onofre (b. 1976)Untitled (The worst is coming crystal version), 2007Cristais Swarovski on cotton paper (Fabriano paper)100x70 cmWith certificate of authenticity from Cristina Guerra Contemporary Art.

Nathaniel Hone RHA (1831 - 1917)Cows Sheltering Under TreesOil on canvas, 63.5 x 91.5cm (25 x 36")Signed with initialsProvenance: With Godolphin Gallery, Dublin, label verso; Sale, de Veres, 31 May 1994, lot 83; again de Vere’s, 23rd November 2004, lot 37; Irish Sale, Sotheby’s, London 19 November 2019, lot 50.A small herd of cattle rests in the shade of trees, some of them standing, others lying down, while other cows approach from the sunlit field. Nathaniel Hone represents this tranquil rural scene on a sultry summer’s day, and the verdant foliage on the right takes up much of the composition. But the sunny pasture on the left, and the low horizon line, with the possible suggestion of sea beyond, beneath a sky of light cloud with patches of blue, also evoke a sense of space.Having studied in Paris as a young man in the 1850’s, then lived for many years near the Forest of Fontainebleau, Hone became a dedicated painter of landscape, often of woodland and coastal scenes. Back in Ireland he settled in North Co. Dublin, residing in large houses in Malahide and Raheny. According to art historian Thomas Bodkin (later Director of the National Gallery of Ireland): “He lived there quietly, occupying himself with painting and farming” (1). Although, on his travels Hone had represented dramatic cliff and seascapes in the West of Ireland, sunlit coastal scenes in the south of France, and ancient buildings in Greece and Egypt, at home in North Co. Dublin, fields, woods and farm animals often viewed under overcast skies, provided the source for many of his paintings – such humble subjects, often overlooked by other artists, exerted a deep affection upon Hone, and he painted many variations on this theme. Perhaps painted on his land at Seafield, Malahide or St. Doulough’s, Raheny.Cattle Sheltering Under Trees is one such subject, a quintessential pastoral painting by Hone, it may date from the mid 1890’s. He eschews the careful manner of his Barbizon canvases, and indeed the detail of contemporary Victorian landscapes, for as much broader, more vigorous style, to capture the changing light of the Irish weather. The brindled forms of the cows, for instance, are boldly modelled, the thick greenery of the foliage, rendered in muted green and olive tones, are painted in swirling or scuffed gestural brushstrokes, and impasto is employed on the tree trunks to indicate their rough, sunlit textures. Cattle Sheltering Under Trees is painted on one of Hone’s large 24 x 36-inch canvases and is signed with his initials, so was evidently prepared for exhibition. A companion picture on a similar large canvas is his Study - Cows in a Field.Julian Campbell, August 2022.Thomas Bodkin, Four Irish Landscapes Painters, Dublin and London, 1920, p53

Norah McGuinness HRHA (1901 - 1980)Days End on Dublin BayOil on canvas, 91.5 x 122 (35¾ x 48")SignedProvenance: With The Dawson Gallery, Dublin, label versoNorah McGuinness was one of a number of remarkable women who, in essence, transformed Irish art in the first half of the 20th century. They did so not only on the basis of gender, though they certainly did secure a central role for women in the Irish visual arts, but also their varied though unmistakable commitment to aspects of modernism - and modernity. Born in Derry, McGuinness was from early on a notably independent spirit (her family disapproved of her art studies, but she quickly became financially self-sufficient). A three-year scholarship brought her to the Metropolitan School of Art in Dublin, where Harry Clarke, who became a good friend, saw her potential and nudged her towards illustration. She proved to be a fine illustrator, but her sights were set on painting, and after enjoying a year studying in London, a year that opened her eyes to the possibilities of contemporary painting, she established herself in Wicklow; painting, illustrating and doing stage and costume designs for the Abbey and the Peacock.She also married the flighty literary figure Geoffrey Phibbs (later Geoffrey Taylor), hence finding herself an unwitting participant in the emotional melodrama of his involvement with the ménage à trios comprising Laura Riding, Robert Graves and Nancy Nicholson, initiating a scandal that inevitably ended their marriage in 1930 (when she rebuffed Phibbs’s attempt at reconciliation).Mainie Jellett had encouraged her to study Cubism with André Lhote, which she did. Technically adept, she easily accommodated elements of Cubism in her own work, warming to Braque particularly, but also to the Post-Impressionism of Raoul Dufy and the Fauvism of Maurice de Vlaminck. After time in Paris, London and New York she settled in Dublin. Productive as an artist, she also designed window displays for Brown Thomas and was a founder-member of the Irish Exhibition of Living Art, serving as chair for many years. She and Nano Reid were the first Irish artists to represent Ireland at the Venice Biennale, in 1950. This audaciously spare work featuring a landmark location encapsulates her flair for pictorial design in a composition hinging on a dynamic arrangement of interlocking planes and forms, a beautifully engineered light-and-dark tonal scheme and a minimal palette of black and white plus mauve-greys and yellows (and steering clear of her customary greens and browns). She had, over the years, become expert at implying a wealth of detail with elegant economy of means.Aidan Dunne, August 2022

Allan D'Arcangelo (American, 1930-1998). Pop art screen print poster for the Aspen Center of Contemporary Art, 1967, depicting one of D'Arcangelo's iconic road signs. Pencil signed, dated, and numbered 95/200 along the center-left.Height: 32 in x width: 24 in.

Tiefeng Jiang (Chinese, b. 1938). Serigraph on paper titled "Freedom Suite," depicting a blue woman on horseback. Signed and numbered 146/300 along the lower right. With an article titled "The Contemporary Art of Jiang Tiefeng" by Richard A. Schindler of Regency Fine Art affixed along the verso.Sight; height: 24 in x width: 24 in. Framed; height: 37 in x width: 37 in.

Emily Young (British, born 1951)Purbeck Blue Angel purbeck blue marble64.7 cm. (25 1/2 in.) wideCarved circa 1999Footnotes:ProvenanceWith The Fine Art Society London, where acquired by the present ownerPrivate Collection, U.K.'Britain's greatest living stone sculptor' (Financial Times, 2013)Emily Young was born into a creative family in London, her grandmother was the sculptor Kathleen Scott, a colleague of Auguste Rodin and her uncle Sir Peter Scott started the Wildfowl and Wetlands Trust in 1961. She began her career as a painter, studying at Chelsea School of Art and Central St Martins in London before travelling extensively, but by the 1980s she had started to carve stone, a medium she has since dedicated herself to for the last forty years.Young practices 'free sculpture', where she approaches each block with no pre-conceived ideas or preparatory drawings but rather allows the material to speak and guide the form that emerges. Using the most ancient of mediums, her unique vision is at once contemporary and antique. The monumental heads are Michelangelesque in their organic emergence from the rock, part polished, part rough-hewn, with each example wholly individual as the material itself dictates the final outcome with every fault and vein celebrated rather than concealed. Writing at the period shortly after the present work was carved, Young elaborates on her process:'The looks on the faces of the angels are not planned as such, they arrive and surprise me often with their softness and sadness, and strength and calm. But like all good angels, they have a certain graveness, an objectivity, a touch of the infinite, and a certain compassion.' (Emily Young, Working with Stone, emilyyoung.com, 2003)Young's sculpture is held in many public and private collections around the globe and she has exhibited at prestigious institutions including The Getty, California, the Imperial War Museum and the Victoria and Albert Museum, London.We are grateful to EY Sculpture UK Ltd for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Anne Redpath O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (British, 1895-1965)St Paul de Vence signed 'Anne Redpath' (lower right) and titled 'St Paul de Vence' (on a label attached to the stretcher)oil on canvas85 x 110.5 cm. (33 3/8 x 43 1/2 in.)Footnotes:ProvenanceWith The Lefevre Gallery, LondonPrivate Collection, U.S.A.Anne Redpath studied art in Edinburgh in the 1910s, before spending much time on the Continent from 1919 to 1934. This painting depicts the town of St Paul de Vence, in Southern France, where the artist lived for several years. Today, the commune counts as one of the most fascinating medieval centres of the Riviera, accommodating several modern and contemporary art museums within its borders. After a period in Saint-Raphaël, in the Var département, she eventually found her way back to Scotland, where she became the president of the Scottish Society of Women Artists, a member of the Royal Sottish Academy, and the first woman painter Academician. Yet, her love for the South never extinguished, and she kept painting in Spain, Corsica, Venice and elsewhere throughout the 1950s and early 60s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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.

Gill, Eric (1882-1940) Collection of works 1) The Common Carol Book. A Collection of Christmas and Easter Hymns. Ditchling: S. Dominic's Press, 1926. First edition, out-of-series copy from the edition of 225, this copy annotated 'Press copy' on the limitation page, 8vo, original quarter linen, Eric Gill's pencilled monogram 'EG' to front free endpaper, piece of manuscript music laid in (titled 'A Carol of the XIV Stations of the +', signed Dom Ambrose Holly, O.S.B., addressed to Petra, presumably Eric Gill's daughter, at upper left, spotted, dimensions 11.5 x 14cm) [Evan Gill 391; his copy was in quarter linen as here, but the book was issued in black quarter cloth];2) Christianity and Art. The Frontispiece engraved by David Jones. Capel-y-ffin: Francis Walterson, 1927. First edition thus, number 82 of 200 copies signed by Eric Gill and David Jones, 8vo, original blue buckram, inscribed in pencil 'from E.G. Christmas 1929' on front free endpaper in an unknown hand, spine sunned [Evan Gill 13];3) The Devil's Devices or Control versus Service. By Douglas Pepler with Woodcuts by Eric Gill. Hammersmith: Hampshire House Workshops, 1915. First edition, trade issue, one of 1300 copies, 8vo, original cloth-backed boards, laid-in slip ('I have been grieved' mentioned in Evan Gill as tipped to the limitation page of 'proof' copies [Evan Gill 259: 'This is no. 1 of St. Dominic's Press publications'];4) Autumn Midnight by Frances Cornford. London: [at St Dominic's Press for] the Poetry Bookshop, 1923. First edition, 8vo, original quarter morocco, wood-engravings by Eric Gill (including title-vignette printed in green), some wear to spine and tips [Evan Gill 273, recording bindings in paper wrappers only];5) Songs to our Lady of Silence. Ditchling: S. Dominic's Press, 1921. Second edition, 8vo, original green cloth, wood-engraved title-device by Gill, wood-engravings in text by Desmond Chute [Evan Gill 376, recording a binding of a 'linen spine with plain brown paper boards' only];6) The Philosophy of Art. Being "Art et Scholastique" by Jacques Martain, translated by the Rev. John O'Connor, with an Introduction by Eric Gill. Ditchling: S. Dominic's Press, 1923. First edition, one of 400 copies, contemporary orange quarter morocco with linen sides (probably an original binding by the Guild), edges untrimmed, 2 wood-engravings by Eric Gill [Evan Gill 85, recording a binding of paper wrappers only]Note: Provenance: Property of an English collector.

18th-century literature 24 volumes Christie, Thomas. Letters on the Revolution of France. 1791, Part 1 only, 2 large folding tables, contemporary calf;Fawcett, Joseph. Poems. London, 1798. 8vo, half-title, contemporary half calf;Bysshe, Edward. The Art of English Poetry. London: S. Buckley, 1710. 8vo, later speckled calf; Jonson, Ben. The Three Celebrated Plays of that excellent Poet Ben Johnson [sic], London: W. Feales, [1732], 12mo, frontispiece, contemporary calf, rebacked;Moore, John. A View of the Causes and Progress of the French Revolution. London, 1795. 2 volumes, 8vo, contemporary calf, rubbed, bookplate of Thomas Jefferson Hogg;Aikin, J. Letters from a Father to his Son. London, 1794-1800. Second edition, 2 volumes, 8vo, contemporary tree calf gilt; Blair, Hugh. Lectures on Rhetoric. London, 1793. Fifth edition, 3 volumes, 8vo, contemporary calf, rubbed; Putter, John S. An Historic Development of the present Political Constitution of the German Empire. 1790, 3 volumes, 8vo, slightly rubbed, bookplates of Thomas Jefferson Hogg; Cibber, Colley. An Apology for the Life of Colley Cibber. London, 1756, Fourth edition, 2 volumes, 12mo, engraved frontispiece, contemporary sheep, rebacked; Walpole, Horace. Anecdotes of Painting in England... fourth edition. London, 1786, 5 volumes, contemporary half calf, joints starting to crack; Villiers, George. The Genuine Works of His Grace. Edinburgh, 1854. 12mo, contemporary calf, signature of Thomas Hogg, worn, lower cover nearly detached; [attributed to Defoe & others.] The Judgment of Whole Kingdoms and Nations. London: T. Harrison, 1710. Fifth edition, 8vo, Birmingham Law Society stamp to title, contemporary calf, rubbed, covers detached; [Ferguson, Robert] An Account of the Obligations the States of Holland have to Great-Britain. London, 1711. 8vo, later quarter morocco, title slightly grubby [ESTC T25301]Note: Provenance: From the library of the late William St Clair, FBA, FRSL.

18th-century volumes Collection of works Prideaux, Humphrey. Marmora Oxoniensia. Oxford: Sheldonian Theatre, 1776. Folio, 3 parts in one volume, library stamp erased at foot of title, numerous engravings in text, contemporary half vellum, worn;Newton, Isaac. Chronology of Ancient Kingdoms Amended. 1728. 4to, contemporary calf, gilt arms of Trinity College Dublin on sides, lacks plates, rubbed;Forde, Emanuel. The Most Famous, Delectable and Pleasant History of Parismus. London, 1704. 2 parts in one volume, 4to, 15th impression, woodcut frontispiece laid down, contemporary calf, a few lower margins trimmed close occasionally affecting text, hole in D3 part 1, worn; The Oeconomy of Human Life. London: S. & E. Harding, 1795. 8vo, engravings by Sylvester Harding, contemporary tree calf gilt, head of spine rubbed;The Oeconomy of Human Life. London: S. & E. Harding, 1795. 8vo, engravings by Sylvester Harding, contemporary red morocco gilt, slightly rubbed;The Art of Painting, with the Lives and Characters of above 300 of the most Eminent Painters. London: T. Payne, [n.d.], 8vo, contemporary quarter calf gilt; Clarke, John. An Essay upon Study. London, 1737. 12mo, contemporary calf, University of Birmingham, Institute of Education Library stamp to foot of title, rubbed;and c.29 miscellaneous 18th-century volumes, including a couple of odd volumes, most rubbed; sold not subject to return [No list of titles available] Note: Provenance: From the library of the late William St Clair, FBA, FRSL.

Miscellaneous works 18 volumes Bell, John. Observations on Italy. Edinburgh & London, 1825. First edition, 4to, 9 engraved plates, contemporary calf, some dampstaining, rebacked, rubbed; [Lewis, Matthew Gregory] The Monk. London: J. Bell, 1797. Third edition, 3 volumes, 12mo, contemporary calf, lightly rubbed;Hogg, James. The Brownie of Bodsbeck. Edinburgh, 1818. First edition, 2 volumes, 12mo, half-titles, contemporary half calf, slightly rubbed;[Midwifery] Aristotle's Compleat and Experienc'd Midwife... second edition. London: Printed and sold by the Booksellers, 1711. 12mo, [ii], iv, 280, [iv], engraved frontispiece (laid down), folding woodcut plate loosely inserted at end, later calf, quite a few pages trimmed by binder with some loss;[Stonestreet, J.G.] Bodiam Castle, a Poem. London, 1818. 8vo, contemporary red morocco gilt, g.e.;James, J.T. The Italian Schools of Painting. London, 1820. 8vo, contemporary red half morocco, slightly rubbed;Sheridan, Thomas. Lectures on the Art of Reading. London, 1805, 12mo, contemporary tree calf gilt; Goethe. Faust. Vingt-six gravures d'apres les dessins de Retzsch. Paris, 1829. oblong 8vo, plates, contemporary green morocco gilt;Lithgow, William. Travels & Voyages through Europe, Asia and Africa for Nineteen Years. Leith, 1814. 8vo, frontispiece, modern quarter calf, title & frontispiece spotted; National History and Views of London, with its Environs. London: Allan, Bell & Co., 1834. 8vo, engraved title, plates, original boards, some spotting; Wilson, William Rae. Records of a Route through France and Italy. London, 1835. 8vo, uncoloured aquatint plates, contemporary half calf, slight dampstaining;Layard, A.H. A Popular Account of Discoveries at Nineveh. 1858. 8vo, plates, contemporary calf; Thackeray, W.M. Notes of a Journey from Cornhill to Grand Cairo. 1864. 8vo, contemporary half calf;Postel, Guillaume. De republica seu magistratibus. Leiden: J. Maire, 1645. 16mo, engraved portrait, 18th century calf;Hugo, Hermannus. Pia Desideria. Antwerp: Lucam de Potter, 1668. 16mo, engraved title, engravings in text, 18th century calf, some headlines trimmed, rubbed; sold not subject to returnNote: Provenance: From the library of the late William St Clair, FBA, FRSL.

Carter, Susannah The Frugal Housewife, or, Complete Woman's Cook London: for J. Harris, successor to E. Newbery, c.1800. 12mo, contemporary half calf, xxi [1] 208, 4 pp. advertisements, engraved frontispiece, 12 bills of fare in the text, front board held by one cord only, frontispiece and title-page browned, frontispiece with closed tear in gutter, damp-staining to outer leaves, one advertisement leaf chipped [this edition not in Maclean];[Copley, Esther]. The Cook's Complete Guide, on the Principles of Frugality, Comfort, and Elegence, including the Art of Carving. London: George Virtue, c.1830. 8vo, contemporary black half calf, iv 848 [2] pp., engraved frontispiece, additional title-page ('New London Cookery'), 10 plates, spotting;and 6 others (these not fully collated), including: The Family Cookery Book ... by an Experienced Housekeeper, 1822 (fourth edition, 'considerably enlarged and improved', uncut in original boards, backstrip perished, front cover near detached, engraved frontispiece, 2 engraved plates (with pin-holes); A New System of Practical Domestic Economy, 1827 (new edition, 'revised, and enlarged', uncut in original boards, spine chipped, front joint cracked; Alexander Murray, The Domestic Oracle, c.1826 (contemporary streaked calf, backstrip perished); Margaret Dods, The Cook and Housewife's Manual, 1833 (fifth edition, binding defective); Henderson William Brand, Simpson's Cookery, Improved and Modernised, 1834 (original boards, backstrip detached); Maria Rundell, A New System of Domestic Cookery, 1814 (uncut in original boards, backstrip perished, lacking at least pp. 79-90 and plates 8-9)

The Art Union [William Henry Fox Talbot] Monthly journal of the Fine Arts London, 1846. Volume 8, 4to, Containing plate 3 ['Articles of China'] from "The Pencil of Nature", calotype mounted, no printed label on verso, image size, 18 x 13.5cm, as issued with accompanying text and lithographed and engraved plates, contemporary half calf, worn, upper cover detached

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Geometric Metaphysics", ca. 1969.Oil on canvas.Signed on the back.Work exhibited in "Joan Ponç: Retrospective exhibition". Zaragoza, 18 February to 12 March 1994.Work referenced in the artist's online catalogue raisonné with catalogue number 0635.Sizes: 150 x 150.4 cm; 154 x 154 cm (frame).Faithful to the precepts of the artistic group Dau al Set, Joan Ponç delved into a visceral automatism that allowed him to connect surrealism and the inner world. His metaphysical and ambiguous dream landscapes find references in the most human miseries, as shown in his series "Metafísica geométrica", with works characterised by abstraction and large format, dated between 1969 and 1970. He was a true visionary who plunged into inner universes to show us the darkest and most hidden corners of the depths of the human being. For Ponç, art is nothing more than an introduction to the mystery and secrets of the spirit.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies at the bottom of his own being. He is currently represented at the Museum of Contemporary Art of the University of São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Basque Centre-Museum of Contemporary Art in Vitoria, and the Museo Nacional Centro de Arte Reina Sofía.

ANDY WARHOL (Pittsburgh, USA,1928-New York, USA,1987)."Box of Glitter".Cardboard, mounted on passe-partout.With stamp of the Levi Gallery (Milan).Size: 18 x 20 x 6,5 cm; 30 x 30 (passe-partout).Glossy box conceived by the artist for the first time in 1964, it was the work for which the art critic Arthur Danto declared the death of art. In his explanation, he stated that through these detergent boxes, the artist had conquered reality by making everyday objects into art. In reality, Warhol was exploring a path already opened by Duchamp in 1917, but which in this case alluded to a mass culture, marked by capitalism and strong industrialisation.Andrew Warhola, commonly known as Andy Warhol, was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered in his time a guru of modernity, Warhol was one of the most influential artists of the 20th century. The son of Slovakian immigrants, he began studying art at the Carnegie Institute of Technology between 1945 and 1949. In the latter year, when he settled in New York, he began his career as an advertising cartoonist for various magazines such as Vogue, Harper's Bazaar, Seventeen and The New Yorker. At the same time he painted canvases whose subject matter was based on some element or image from the everyday environment, advertising or comics. He soon began to exhibit in various galleries. He progressively eliminated any expressionist traits from his works until he reduced them to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its peak of depersonalisation in 1962, when he began to use a mechanical silkscreen printing process as his working method, by means of which he systematically reproduced myths of contemporary society, the most representative examples of which are the series dedicated to Marilyn Monroe, Elvis Presley, Elizabeth Taylor and Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. This appropriationism, a constant in the work of the proponents of Pop Art, extended to universal works of art. By means of mass reproduction, he succeeded in stripping the media fetishes he used of their usual referents, turning them into stereotyped icons with a purely decorative purpose, and in 1963 he set up the Factory, a workshop in which numerous figures from New York's underground culture gathered around him. The frivolity and extravagance that marked his way of life eventually established a coherent line between his work and his life. He is currently represented in the most important contemporary art museums in the world, such as the MoMA, the Metropolitan and the Guggenheim in New York, the Fukoka Museum in Japan, the Kunstmuseum in Basel, the National Museum of 21st Century Art in Rome, the MUMOK in Vienna, the SMAK in Ghent and the Tate Gallery in London, as well as in the museums that bear his name in Pittsburgh and Medzilaborce (Slovakia).

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."Lost in a Deep forest and found a way out", 2022.Mixed media (acrylic and spray) on canvas.Enclosed certificate issued by the artist.Measurements: 100 x 120 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 rooftop of the Zapadores Museum in Madrid.

JESÚS RAFAEL SOTO (Venezuela, 1923 - France, 2005).Untitled, ca. 1992, from the Suite Olympic Centennial.Silkscreen on Vélin d'Arches paper, copy 110/250.Signed and dated in pencil in the lower right corner.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.A Venezuelan artist trained at the Escuela de Arte de Caracas, Jesús Soto was an outstanding representative of kinetic art, which he began and developed in the late 1950s. Between the seventies and the nineties, already fully established internationally, he held important exhibitions in places such as the MOMA and the Guggenheim in New York, the Centre Georges Pompidou in Paris, etc. He also took part in the Venice Biennale in 1966 and the São Paulo Biennale in 1996. Particularly famous for his penetrable sculptures, he also carried out projects such as the decoration of the main hall of the Teatro Teresa Carreño in Caracas. Soto was awarded the Premio Nacional de Artes Plásticas de Venezuela, and in 1973 the Venezuelan government inaugurated a museum in his honour in his native Ciudad Bolívar. He is currently represented in important collections such as the Guggenheim Museum in New York.The Olympic Suite is composed 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 which 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.

MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."Platonic evocation".Mixed media on paper.Signed and titled in the lower middle section.Size: 64 x 48 cm; 77 x 61 cm (frame).Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting and entered the Academia Libre de Pintura in Barcelona. In 1948 he took part in the founding of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the outset a strong kinship with surrealism, as well as a great sensitivity towards the expressive power of colour. Towards 1955 he immersed himself in material informalism. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. In the 1970s he exhibited in numerous national and international capitals, including Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. He also took part in a group exhibition at the Palais de l'UNESCO in Paris, was awarded the Cross of Saint George by the Generalitat de Catalunya and the Cross of Isabella the Catholic. In 1988 he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colours and forms, and reincorporates a more material figuration into his work. In 1998 the foundation named after him was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Contemporary Art Museums of Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

OLIVIER DEBRÉ (Paris, 1920 - 1999).Untitled, 1992, from the series "Olympic Suite".Silkscreen on Vélin d'Arches 270 gsm paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm.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 chosen artists are defined by different movements and pictorial trends.A French painter, sculptor and illustrator, Olivier Debré was a pupil of Le Corbusier, although he eventually focused on the plastic arts. Towards 1960 he definitively evolved towards abstraction, thanks to the influence of American abstract expressionism. A great international success, he has worked all over the world and represented France at the Universal Exhibition in Montreal in 1967. His solo exhibitions include retrospectives in Paris in 1995 (Jeu de Paume), Reykjavik (1996, Museum of Art), Mexico (1997, Museum of Fine Arts), Rio de Janeiro (1997, Museum of Modern Art), Beijing (1998, Museum of History) and Hong Kong (1998, Museum of Modern Art). He is currently represented at the Centre Pompidou in Paris and the Taipei Museum of Fine Arts, among other collections.

CARLOS CRUZ DÍEZ (Caracas, 1923-2019).Untitled, 1992, from the Suite Olympic Centennial.Silkscreen on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 90 cm.The French-Venezuelan artist, Carlos Cruz-Diez, lived and worked in Paris since 1960. He is one of the most relevant protagonists of optical and kinetic art, an artistic current that claims "the awareness of the instability of the real". His research reveals him as one of the 20th century's thinkers of colour. The plastic discourse of Carlos Cruz-Diez gravitates around the chromatic phenomenon conceived as an autonomous reality that evolves in space and time, without the aid of form or support, in a continuous present. Carlos Cruz-Diez's works can be found in prestigious permanent collections such as those of the Museum of Modern Art (MoMA) in New York, Tate Modern in London, Musée d'Art Moderne de la Ville de Paris, Centre Pompidou in Paris, Museum of Fine Arts in Houston and Wallraf-Richartz Museum in Cologne, among others.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first 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 which 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.

ROBERT COMBAS (Lyon, 1957).Untitled, 1992, from the Suite Olympic Centennial.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and numbered in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.A French painter and sculptor, Robert Combas trained at the Ecole des Beaux-Arts in the town of Sete, in south-eastern France, and held his first solo exhibition in 1980. He is considered to be the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Free figuration, "a painting that does not deny its primitive instincts or its desire for culture" according to Combas himself, has its roots in Fauvism and Expressionism and establishes a connecting thread with the Neo-Expressionist movement and graffiti art. Combas's works therefore become a critique of society in general, through an intense style based on the use of powerful, vivid and passionate colours that leave no centimetre of the canvas free, outlining the figures he depicts in black.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 currents, 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.

TOSHIMITSU IMAI (Kyoto, 1928 - 2002)Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen on 270 gsm vélin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 90 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Published to commemorate the first centenary of modern Olympism, the artists chosen are defined by different pictorial movements and trends.Toshimitsu Imai trained at the Tokyo State Academy of Art and his early works show a strong influence of the intellectual and decorative treatment of colour already employed by the Fauves. Throughout his career he moved towards increasing formal synthetism and was one of the introducers of abstract art in Japan, although he never entirely abandoned figuration, to which he returned repeatedly at various points in his life, exploring the connection between the historical avant-garde and its contributions and traditional Japanese art.

JOHN CHRISTOFOROU (Greece, 1921 - United Kingdom, 2914).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by critics.John Christoforou spent his childhood in Greece, but returned to London in 1938, and after fighting in the Second World War held his first exhibition in 1949. In 1957 he moved to Paris, where he took part in an exhibition at the Rive Gauche gallery alongside Enrico Baj, Jorn and Mihailovitch. Throughout his career he held important exhibitions in various countries, and worked closely with the Birch gallery in Copenhagen, where a tribute exhibition was dedicated to him after his death in 2014. He is currently represented in major collections such as the Tate Gallery in London, the Frissiras Museum in Greece, the Fonds National d'Art Contemporain in Paris and the Fine Arts Museums of Randers and Silkeborg in Denmark.

BENGT LINDSTRÖM (Sweden, 1925 - 2008).Untitled, 1992.Lithograph on 270 gr Velin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm.Bengt Lindström trained in Stockholm with I. Grünewald, at the Academy of Fine Arts in Copenhagen and at the Art Institute of Chicago. In 1947 he settled in Paris, where he completed his studies with A. Lothe and F. Léger, as well as experimenting with a wide variety of procedures and techniques. Recognised from the 1950s onwards, Lindström held solo exhibitions in cities such as Paris, London, Brussels, Cincinnati and Tokyo. Most of his work is currently held by the Krimaro Foundation, as well as the Museo Reina Sofía in Madrid, the Carnegie Institute, the Centre Pompidou in Paris and the Tate Gallery in London, among many others.The Olympic Suite is composed of 50 lithographs and silkscreen prints 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 which concentrates on the human figure, intensely expressive and treated through 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.

"Ben", BEN VAUTIER (Naples, 1935)."Life is competition", 1992, from the Olympic Centennial Suite.Silkscreen on 270 gsm Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.Benjamin Vautier was not only a visual artist, but also a public agitator and art critic, interested in social demands 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 much 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 was also imbued with conceptualism and minimalism, essential in his conception of art, which for him was not a purpose but a vehicle, a form of communication.The Olympic Suite consists 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 currents, 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.

VALERIO ADAMI (Bologna, Italy, 1935).Untitled, 1992, from the series "Olympic Suite".Silkscreen on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.A painter, designer and engraver, Valerio Adami trained in Achille Funi's studio and at the Brera Academy in Milan, before moving to Paris in 1957. In 1962 he held his first major exhibition in London, and shortly afterwards took part in Documenta III in Kassel. In the mid-1960s Adami achieved his best-known Pop-influenced style: stylised images, outlined in black on areas of intense flat colours. His success was rapid, and in 1968 he represented Italy at the Venice Biennale. During these years he painted four large murals at the Firstar Bank headquarters in Madison (USA). His success continued, and in 1985 he held anthological exhibitions at the Centre Georges Pompidou in Paris and the Commune in Milan. In 1993 the Adami Academy-Foundation was established in Liechtenstein. He is currently represented at the MoMA in New York, the Palazzo Magnani in Reggio Emilia, the SMAK in Ghent, the Palazzo Ruspoli in Rome, the Art Institute of Chicago and the Museo di Arte Moderna e Contemporanea in Trento, among others.

CONSTANTIN BYZANTIOS (Greece, 1924 - 2007).Untitled, 1992, from the series "Olympic Suite".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.

"ARMAN", ARMAND PIERRE FERNANDEZ (Nice, 1928 - New York 2005).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Published to commemorate the first centenary of modern Olympism, the artists chosen are defined by different pictorial movements and trends.Armand Pierre's father, better known as Arman, was an amateur painter as well as a musician, playing the cello. He settled in Nice, where Arman was born and studied at the city's School of Decorative Arts. There he met the painter Yves Klein, a representative of abstraction and performance art. He later trained at the Ecole du Louvre, where he remained in contact with artistic modernity. His great contribution to painting and graphic work is what is defined as "Accumulations", groupings of objects of the same type, displaced from their natural location and presented as a group that constitute a critique of consumer society, as in this lithograph of the Olympic Suite.

NAM JUNE PAIK (Seoul, 1932 - Miami, 2006).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Velin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 90 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Published to commemorate the first centenary of modern Olympism, the artists chosen are defined by diverse pictorial movements and trends.Nam June Paik worked throughout his career as a music composer, but also as a video artist, painter and printmaker. He received his musical training at the University of Tokyo, where he also studied art history. He later travelled to Germany in the mid-1950s to study music theory in Munich, Cologne and Freiburg. He worked in the electronic music research laboratory of Radio Cologne, and participated in the artistic research groups Happening and Fluxus. In this and other lithographs he investigates the graphic possibilities through the serialisation of elements close to the aesthetics of the video game and even the "emoticon".

"CORNEILLE"; GUILLAUME CORNELIS VAN BEVERLOO (Belgium, 1922 - France, 2010).Untitled, 1992, from the series "Olympic Suite".Lithograph on Velin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by critics.Better known by his pseudonym Corneille, Guillaume Cornelis van Beverloo was a Belgian painter and printmaker of Dutch parents. He began studying art in 1940 in Amsterdam, where he met painters such as Constant and Karel Appel. Interested in the work of Pignon, Matisse and Picasso, he began exhibiting in 1946. He visited Hungary shortly afterwards, where he discovered Surrealism and was influenced by the painting of Klee and Miró. Along with Appel, Constant and others, Corneille was a member of the Dutch "Experimentale Group", collaborated with the magazine "Reflex" and took part in the CoBrA movement (1948-1951). After the dissolution of the latter group, he moved to Paris. Two years later, in 1953, he began to produce etchings, and the following year he began to produce ceramic works. The influence of his collection of African art, acquired during a trip to North Africa in 1949, is evident in the evolution of his work from the late 1950s onwards, as he gradually abandoned abstract landscape painting and began to develop an imaginative style, with landscapes depicted from a bird's eye view, exotic animals and highly stylised figures. Corneille is currently represented at the MoMA in New York, the National Gallery of Slovakia, the Dordrecht Museum, the Museum of Fine Arts in Boston, the Art Institute of Chicago and others.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the Suite Olympic Centennial, 1992.Relief silkscreen on Vélin d'Arches 270 grams paper, copy 110/250.Signed and justified in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastian for good, and produced his first work in iron, the material with which he would work for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue National gallery in Berlin.The Olympic Suite consists of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The chosen artists are defined by different movements and pictorial trends.

JEAN TINGUELY (Switzerland, 1925 -1991).Untitled, 1991, from the series "Olympic Suite".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed in plate and hand-numbered.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.The painter and sculptor Jean Tinguely was, for more than thirty years, a key figure in the European avant-garde movement. Kinetic art is a current based on the aesthetics of movement. It has been represented in sculpture, a technique in which the distinctive resources are the moving components of the works. Its purpose is to give the spectator a spectacle of movement, or at least the illusion of it. Jean Tinguely's mobile works were created to destroy or self-destruct, all in an effort to satirise the overproduction of meaningless goods manufactured by advanced industrial society. After turning to abstract painting, the Swiss artist experimented with movement as a form of expression. His first works, exhibited in Paris, were moved by electric motors. These monumental pieces depicted an ironic universe of useless machines which, it seemed, were producing. He applied the term meta-mechanics to his creations. "The concept is to show that a work of art is never a definitive object, but that its creative capacities are, in truth, the potentialities given to it by both the artist and the spectators.

"ERRÓ", GUOMUNDUR GUOMUNDSSON (Iceland, 1932).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.From 1952 to 1954 Erró studied at the art academy in Reykjavik and Oslo. After his studies he travelled to Florence, where, among other things, until 1958 he explored the artistic technique of mosaic. In 1958 he moved to Paris, where in 1960 he took part in the Antiproces exhibition with some of his works. From 1961 until 1966 he participated annually in the Parisian exhibition Salon de Mai. This was followed by numerous trips and exhibitions in other countries, e.g. in 1969 he exhibited at the Karlsruhe Art Association (Kunst und Politik Art and Politics). He also made several films, including Grimaces (1964). His paintings show a style that oscillates between Surrealism and Pop Art. The modern world, with its technology and inhumanity, appeared repeatedly in the subject matter of his works. He also integrates elements of comics and science fiction. In 2010 he was awarded the French Legion of Honour (Chevalier).

CÉSAR BALDACCINI (Marseilles, 1950 - Paris, 1998).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Published to commemorate the first centenary of modern Olympism, the artists chosen are defined by different pictorial movements and trends.Baldaccini trained at the Ecole des Beaux-Arts in Marseilles between 1935 and 1939, later completing his training in Paris, where he studied from 1943-1948. He initially devoted himself to metal sculpture, welding scraps and scraps and creating large sculptures of insects, animals and nudes. He held his first solo exhibition in Paris at the Galerie Lucien Durand in 1954. His work is part of the New Realism movement and, although he mainly worked in metal, he also worked in graphic art and painting.

JULIO POMAR CULEBRAS (Lisbon, 1926-2018).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 60 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.Julio Pomar Culebras trained at the School of Fine Arts in Lisbon and Oporto, and it was in the latter city that he began his artistic career with a solo exhibition in 1947. Later he took part in both solo and group exhibitions, mainly in Portugal, but also in Paris. Between 1945 and 1957 his painting was essentially figurative, and he was one of the main representatives of Portuguese Neorealism. Later his work evolved in other directions.

VLADIMIR VELICKOVIC (Belgrade, 1935).Untitled, from the series "Olympic Suite", 1992.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and numbered in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.Vladimir Velickovic is one of the most prominent Serbian artists. He trained at the Faculty of Architecture in Belgrade and between 1963 and 1966 worked as an assistant to Krsto Hegedusic in his studio in Zagreb. In 1965 he won the Paris Biennale prize and the following year he moved to Paris, where he continued to work and exhibit, gaining wide public acclaim with his exhibition at the Galerie du Dragon in 1967, for example. In 1983 he was appointed professor at the École nationale supérieure des Beaux Arts, a post he held until 2000. In 1985 he was also appointed member of the Serbian Academy of Sciences and Arts.The Olympic Suite consists 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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.

PAUL VAN HOEYDONCK (Belgium, 1925).Untitled, 1991, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented are creators of great international renown, widely recognised by the critics.Paul Van Hoeydonck was born in Antwerp on 8 August 1925, and took courses in Art History and Archaeology in Antwerp and Brussels, a period which ended in 1951.2 In 1952 he had his first solo exhibition at the Buyle Gallery in the same city. Van Hoeydonck created the work as a tribute to mankind's desire for expansion into outer space. This contrasts with Scott's view, who saw the work as a memorial, which Van Hoeydonck would later regret. The artist would go on to create more replicas of the original work, one of which is in the hands of the Smithsonian Institution; he would later go on to make copies for sale.

SOL LEWITT (United States, 1928 - 2007)."Five pointed star with colorbands", from the Suite Olympic Centennial, 1992.Silkscreen on 270 g Velin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm. The Olympic Suite is made up of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.An artist linked to various movements, including conceptual and minimal art, Sol LeWitt expressed himself mainly through painting, drawing, photography and structures. Born into a Jewish family of Russian immigrants, after receiving a BFA from Syracuse University in 1949 he began a series of trips around Europe, where he was influenced by the great masters of painting. Settling in New York in the 1950s, he focused his interest on graphic design, working for Seventeen Magazine. During the following decade the artist worked at the MoMA in New York, another experience that would mark the development of his work. During these years, LeWitt became one of the main representatives of conceptual art, which emphasised that the idea, and not its physical form, was fundamental. He was one of the pioneers of this movement, as well as one of its most prominent theoreticians, and his work has also been associated with Minimalism. From 1965 onwards LeWitt was the subject of hundreds of solo exhibitions in museums and galleries all over the world. His works range from two- and three-dimensional works, from wall paintings (over 1,200) to photographs, drawings and sculptures of all kinds, including towers, pyramids, geometric forms and progressions. Sol LeWitt frequently used open, modular structures based on the cube, a key form in the development of his language. In 1978, the Museum of Modern Art in New York devoted its first retrospective exhibition to LeWitt. LeWitt is currently represented there, as well as at the Guggenheim in New York and Bilbao, the Kunstmuseum in Basel, the Palazzo Forti in Verona, the SMAK in Ghent, the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden and the National Gallery in Washington, the Metropolitan in New York and the National Gallery of Australia, among many others.

OLEG TSELKOV (Russia, 1934).Untitled, 1992, from the series "Olympic Suite".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by critics.Oleg Tselkov trained with the theatre designer and experimental artist Nikolay Akimov, graduating in 1958 from the Saint Petersburg State Theatre Arts Academy. Throughout the 1960s and 1970s he was in contact with artists from a wide range of backgrounds, including Arthur Miller, David Alfaro Siqueiros, Louis Aragon, Pablo Neruda and others. During the communist period he was persecuted and finally settled in Paris in the late 1970s. His painting 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.

WOLF VOSTELL (Leverkusen, Germany 1932 - Berlin, 1998).Untitled, 1992, from the series "Olympic Suite".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented are creators of great international renown, widely recognised by the critics.Wolf Vostel began his training in Cologne, where he studied painting, photography and lithography, and then entered the Wuppertal academy of free painting and experimental typography. In 1955 he moved to Paris to study painting and printmaking at the Ecole Supérieure Nationale des Beaux-Arts. He then continued his training at the Academy of Arts in Düsseldorf. Vostell coined the term "dé-coll/age" for his particular creative juxtaposition of elements, which he applied both to his works, which included shreds of posters, smudged photographs and objects, and to his actions, the first of which took place in 1954 in Wuppertal. His work is marked by the aesthetics of destruction, the fruit of his experience of war, a language with which he sought to capture the aggressive and negative character of the contemporary world. His work continues to evolve: a pioneer of video art, in the 1970s he incorporated concrete as a key element in his work. His work can be found in the museum that bears his name in the province of Cáceres, the Nacional Centro de Arte Reina Sofía and in other collections, both public and private.

AHMED SHAHABUDDIN (Dhaka, Bangladesh, 1950).Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen on Vélin d'Arches 270 gsm paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 90 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.Ahmed Shababuddin trained at the Dhaka Academy of Fine Arts, later completing his studies at the Ecole Superieure des Beaux-Arts in Paris. He has had numerous solo and group exhibitions internationally. His work does not renounce figuration, and continues the research of the historical avant-garde on dynamism, vibration and force.

JIRI KOLAR (Protivin, Czech Republic, 1914 - Prague, 2002).Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen on Vélin d'Arches 270 gsm paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.Born into a working-class family, Jiri Kolar moved to Prague in 1945, where he first worked as an editor and later devoted himself to poetry and the creation of collages. Kolar's language was influenced by surrealism and poetism (the Czech avant-garde poetic movement), particularly in the production of "rollages", a technique consisting of laminating important works of art in strips and reconstructing them in a new way. However, the arrival of the Communists to power in Czechoslovakia prevented Kolar from freely exhibiting and publishing his works. In fact, in 1950 he was imprisoned for the publication of a text called "Prometheus' Liver", written against the prevailing mentality of the time, which was closely linked to socialist realism. After a politically active period, Kolar emigrated to France, where he remained until the end of communism in 1989, regaining his Czech passport in 1992. Throughout his career as an artist, Jiri Kolar has held numerous exhibitions both in Europe and in the United States, most notably in 1881 at the Guggenheim Museum in New York.

PETER SAUL (San Francisco, California, 1934).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Hand signed and numbered.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 90 cm.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Published to commemorate the first centenary of modern Olympism, the artists chosen are defined by different pictorial movements and trends.Trained at the California School of Fine Arts and the School of Fine Arts in St. Louis, Missouri, Peter Saul's artistic career began with Surrealism and Expressionism and then moved on to Pop Art. In his works he reflects the fixations of contemporary culture, directing the aesthetic of his works towards that of comic books, with strident colours, distorted forms and inconsistencies of scale.

MARTIN BRADLEY (Richmond, England, 1931).Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen on Vélin d'Arches 270 gsm paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.With a rebellious spirit, Martin Bradley began his career as an artist at a very early age, settling in London in 1949. In the mid-1950s Bradley struck up a lasting friendship with the writers of "The Angry Young Men" group, writers of great importance in the British literary revival, where he met other young painters such as Phililip Martin and Alan Davie. In 1961 he received a grant to settle in Brazil, where he achieved great success and which led him to exhibit, on his return to Europe, in the historic exhibition "Arte e Contemplazione" at the Palazzo Grassi in Venice. Following her success in Italy and Spain, Bradley travelled the world, passing through Turkey, Afghanistan, India and Nepal, and became fascinated by the Far East. At first, the artist's work shows a self-destructive tendency, but it evolves into works of fresh workmanship, lively colour, extreme fantasy and sympathetic appearance, resulting in works that form part of the English Pop movement. However, in contrast to this positivism, a series of graphics, signs and symbologies can be discerned which allude to criticisms of traditional customs and reflections on the passage of time, characteristics which make Bradley's paintings tremendously interesting works full of nuances.

MIMMO PALADINO (Paduli, Italy, 1948).Untitled, 1992, from the series "Olympic Suite".Silkscreen on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.Paladino is one of the main exponents of the trans-avant-garde, a movement founded by Achille Bonito Oliva in 1980 which is characterised by a return to painting, after the various conceptual and minimalist trends that developed in the 1970s. His works are permanently exhibited in some of the most important international museums, including the Metropolitan Museum of Art and the Guggenheim in New York, the Los Angeles County Museum of Art, the Detroit Institute of Arts, the Tate and the Royal Academy in London, the Museum of Modern Irish Art in Dublin, the MACBA in Barcelona, the Kiasma in Helsinki, the Palazzo delle Arti in Naples and the MOCA in Shanghai. Most recently, a show has been held in Lima at the Sala Luis Miró Quesasa Garland with 28 of his works.

CHU KO (China, 1931).Untitled, 1992, from the series "Olympic Suite".Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.Chu Ko, pseudonym Yuan Te-Hsing, was born in Hunan, China. Chu was a central figure in the Taiwanese modern art movement as a poet, art critic, painter and sculptor. As a young man he was already known in the Taiwanese art community, mainly for his intelligence and self-taught talent. He often published his literary works in newspapers, magazines and art criticism magazines. When Chu was 35 years old, he started working at the National Palace Museum. He spent thirty years researching bronzes, through which he published important studies of ancient art. Chu Ko became interested in painting and calligraphy, and became a devotee of fine art from the age of 50. His works are abundant and stunning in style, which has made him one of the most important modern Taiwanese artists.The Olympic Suite consists of 50 lithographs and silkscreen prints chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and numbered in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 63 x 89'5 cm.Antoni Tàpies was initiated into art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travelled to Paris in 1950, with a grant from the Institut Français. In those years he began to take part in the Venice Biennale, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. Since then he has exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Musée d'Art Moderne in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the French Grand Prix for Painting, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MOMA in New York and the Tate Gallery in London.Tàpies' work falls within the framework of Informalism and the material aspect is fundamental to it; the scribble, the brushstroke full of pictorial matter, the collage... But the symbolic aspect is also fundamental to Tàpies' work. Over the years the artist created a significant imaginary in which elements such as crosses are essential, in a sense that goes beyond their link with Christianity, the X, as an allusion to the crossroads, real or vital, or numbers such as 8, the symbol of infinity.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 chosen artists are defined by different movements and pictorial trends.

HELMUNT MIDDENDORF (Dinklage, 1953).Untitled, Olympic Suite. 1992.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.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 work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by the critics.Trained at the Berlin School of Art, Middendorf was a member of the "Heftige Malerei" group made up of other important artists representing a second generation of German Neo-Expressionism, inspired by German Expressionism and its main exponents: Max Beckmann, George Grosz or Emil Nolde, among other important artists. Middendorf's work is characterised by aggressiveness, realist and stark themes, all treated in recognisable forms. The human body, with forms tending towards abstraction, but without moving away from figuration, are crowned as protagonists in a totally expressive and colourful oeuvre.

PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Sujet Colombe", 1959Ceramic, copy 154/500.Numbered on the base, with the stamps Edition Picasso and Madoura Plein Feu.Measurements: 14 x 22 x 10 cm.Glazed ceramic vase with blue and black on white, in the shape of a dove, a bird that inspired a good number of Picasso's drawings and paintings, as well as ceramic pieces such as the one in question.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 "ElsQuatreGats". 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 met 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 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.