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Click here to subscribeAndy Capp by Reg Smythe 1968 First Edition number 21 Softback Book published by The Daily Mirror some ageing. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Reptisaurus the Terrible, special edition, No. 1 (1963); and Reptisaurus the Terrible, Vol. 2, No. 7, by Charlton Comics; British Classics Illustrated, No's. 14, 57, 59, 62, 67, 69, 80, 91, 99, 101, 129, 154, 155, 156, 157, and 166; World Illustrated, No. 526 'Day of Fury' first printing (HRN524); Movie Classics, No's. 40, 42, 43, and 82; and three Walt Disney Super Mags.
Three boxes of antiquarian books: 'Wreck of the Hesperus', Longfellow, published 1887, 'Philosopher with Nature', Benjamin Kid, published 1821, 'Marmion: a tale of Flodden Field', Sir Walter Scott, published 1855, 'Critical and Historical Histories' by Lord Macaulay, published in 1883, 'Moonshine: Fairy Stories' by the Right Hon. E.H Knatchbull-Hugessen (Lord Brabourne), published 1882, a first edition of 'Some Birds of the Countryside' by H.G Massingham, published 1921, 'Who's Who' from 1936, 'Cowper's Poetical Works' Volume II, 'The Pilgrim's Progress', John Bunyan, 'Waverley Novels', Sir Walter Scott, published 1868 etc. (3)(B.P. 21% + VAT)
QUEEN - CD COLLECTION (PLUS MEMORABILIA/DVDs/VHS). Expert collection around 51 x CDs (albums plus singles) plus a selection of 10 x DVDs/VHS and 11 x books/mags. CDs including The Queen Collection (ltd edition long box release, HR-61407-2), A Night At The Opera (CD/DVD set, 0094633845725), A Day At The Races (early UK CD, CDP 7462082), At The Beeb, Innuendo, Live At Wembley '86, Made In Heaven and The Show Must Go On (special collectors' CD box, sealed). DVDs/VHS/books include Live At The Bowl, live At Wembley, The First 10 Years, A Visual Documentary, Scrapbook and The Complete Guide To The Music Of Queen. Condition generally appears to be excellent. Please see list for all items contained in this collection.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983).Untitled. 1972.Wax on paper.The support, paper, is the cover of a copy of "Tapís de Tarragona" (limited edition).Signed and dated in the lower right-hand corner.Certificate of authenticity ADOM enclosed.Measurements: 29,5 x 22 cm; 66 x 57 cm (frame).Original drawing by Miró, made with crayons. The degree of abstraction of the lines with which Miró represents the human figures here is genuinely Miróian: the arches ending in circles that symbolise eyes, the chromatic symbolism (blue, black, yellow, red), the concentric circles as a metaphor of eternal return of the cycles of renovation and fertility... take us back to a long path of conceptual and formal search that began with the Romanesque frescoes, that is, with the mystical eye and spiritual schematism.In 1966, Maria Dolors Miró, Joan Miró's daughter, was involved in a serious accident when her car was hit. Maria Dolors was treated in Tarragona, and in gratitude for the care she received, Joan Miró presented the city's Red Cross with a work, the Tapís de Tarragona, which he made in collaboration with the artist Josep Royo. This work is in the Museu d'Art Modern de Tarragona. In 1972, the book "Tapís de Tarragona" was published in a limited edition, with ten lithographs by Miró, and texts by Rafael Orozco, Maria Luisa Borrás and Josep Royo. A total of 1100 copies were printed. Of these, 100 copies were printed on Sala Gaspar watermarked paper, signed in pencil by the artist, and 1,000 copies on Sarrió paper. It is catalogued in "Miró's illustrated books", Patrick Cramer, Publisher. Geneva.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
ANTONÍ GAUDÍ (Reus, Tarragona, 1852 - Barcelona, 1926).Mirror. After a design by Antoni Gaudí, ca. 1904.In wood and gilded stucco.Label on back of Ediciones Hoyos, Esteva y Cia.Provenance: Private collection, Barcelona.Condition: dirt, scuffs and small cracks. Mirror with some stains. Good general condition.The Museu del Modernisme Catalá has one of similar characteristics in its collection.Measurements: 73 x 66 cm (total); 40 x 33 cm (mirror).Antoni Gaudí's integral conception of architecture led him to take care of all the decorative elements that were to form part of each building. Mirrors (for La Pedrera, Casa Milà, etc.) were no exception. In particular, the mirror in question (very similar to the model in the Museu del Modernisme in Barcelona) follows a typically Gaudí pattern, also present in the corbels and pedestals. The wooden and gilded stucco frame develops into a foliage with a sinuous profile, the leaves of which are superimposed in sheets that simulate waves of vegetation. The result is an organic delicacy characteristic of modernisme, which Gaudí magnified with his artistic genius. There are other copies similar to this edition by Hoyos, Esteve y Cia in private collections, of the same series, materials and manufacture. Some of them come from La Pedrera. The Musée d'Orsay in Paris has one of the corbels.The greatest representative of Catalan modernism, Gaudí is one of the most outstanding architects and decorators in European history. Even as a child he loved hiking and direct contact with nature. Having stood out as a child for his drawings, he studied architecture at the Llotja School and at the Barcelona School of Architecture, where he graduated in 1878. With his first major commission, the Casa Vicens, Gaudí began to make a name for himself and to attract increasingly large commissions. In 1878 he exhibited a showcase for the Comella glove shop at the Universal Exhibition in Paris. This piece, which was both modernist in design and functional, impressed the industrialist Eusebi Güell, a key figure in Gaudí's artistic biography from then on. In fact, Güell was not only Gaudí's great friend, but also his main patron, and commissioned some of his most outstanding works, such as the Parc Güell. In 1883 he accepted the commission to continue the work on the Sagrada Família; Gaudí completely modified the initial project, and this building became his masterpiece, on which he worked until the day he died. This project was followed by other important commissions, such as the episcopal palace of Astorga, the Batlló and Milá houses and the restoration of the cathedral of Palma de Mallorca. In 1910 the first exhibition dedicated to Gaudí was held at the Grand Palais in Paris. After his death, important retrospectives of the architect were held, including the one at the MOMA in New York, his first major international exhibition, which took place in 1957. Since the mid-20th century, Gaudí has been increasingly appreciated, culminating in the proclamation of several of his works as World Heritage Sites by UNESCO in 1984 (Park Güell, Güell Palace and Casa Milá) and 2005 (crypt and apse of the Sagrada Familia, the Vicens and Batlló houses and the crypt of the Colonia Güell). Gaudí's designs for furniture and decorative arts can now be admired in the Musée d'Orsay in Paris, the MOMA in New York, the National Gallery of Art in Washington D.C. and the National Art Museum of Catalonia, as well as in his House-Museum in Parc Güell.
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.
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.
CHU TEN-CHUN (Baitou Zhen, Jiangsu, China, 1920 - Paris, 2014).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gsm Vélin d'Arches 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.Size: 63 x 90 cm.Chu Ten-Chun was born in 1920 in Jiangsu Province. His artistic inclination came from the cradle, as his family were doctors and collectors of Chinese paintings. He began studying art at the age of 15 at the Hangzhou Academy of Fine Arts and became a professor at the National Central University of Nanking. In 1949 he moved to Taiwan and became a professor of art at the National University. In 1955 he moved to Paris to learn from the best and began exhibiting in the City of Lights. And in 1997, he was the first Chinese artist to be elected as a member of the prestigious Academy of Arts and Letters in Paris. His artistic goal since then has been to unite Eastern and Western art without abandoning his Chinese artistic roots, which gives him that uniqueness. His works, practically all of them abstract, are Chinese landscapes, very poetic, which instead of showing, suggest rocks, waterfalls, mountains, coloured clouds... allowing the spectator to feel what is in each work. His work exudes energy and vitality, seeming to have a life of its own. They are incredible compositions that intermingle romantic and abstract styles to give the works a special significance. Thanks to the opening up of mainland China to the outside world, Chu Teh Chun is now known and highly praised in his homeland, where he has held countless exhibitions.
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.
PAT ANDREA (The Hague, The Netherlands, 1942).Untitled, 1992.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 sequential lots numbered 35245230 to 35245280.Measurements: 63 x 90 cm.The son of a visual artist and an illustrator, Pat Andrea trained at the Royal Academy of Fine Arts in The Hague. Together with the artists Walter Nobbe and Peter Blokhuis he formed the ABN group, which became known as the New Hague School. In 1976, after his first exhibition in Paris, he travelled to Latin America, a place that notably changed his way of working, where he began to develop the figurative compositions we know, of greater strength and formal tension than his previous works. In 1977 Jean Clair invited him to take part in the exhibition entitled "New Subjectivity", which was held at the Autumn Festival in Paris. From then on he would be known as a representative of this artistic current which draws on the new figuration, second German expressionism and surrealism. Pat developed a body of work in which he captured the horrors and phobias of the war between the male and female sexes, featuring characters who have lost their psychological equilibrium and are torn between tenderness and violence, all through a grotesque expressionism in which synthesised forms and flat colours predominate. Between 1983 and 1989 he combined his stays in Buenos Aires with periods in Europe, specifically in the cities of The Hague and Paris. During the 1990s he exhibited at the Balducci-Daverio Gallery in New York, and in 1998 he was appointed professor at the Ecole Nationale des Beaux-Arts in Paris, where he has lived with his family ever since.
"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.
ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph 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.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after post-war artist in the world and the sixth most expensive of all time. In the first half of 2018, his sales were only behind those of stars such as Picasso, Monet, Modigliani and Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy as a child, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts from 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he followed the artistic courses of Émile Othon Friesz and came into contact with the contemporary artistic avant-garde. He began to experiment with lithography, a technique which he eventually mastered, following his contact with Desjobert. He holds a solo exhibition at the Galerie Creuze in May 1949, with a presentation written by Bernard Dorival, curator of the Musée National d'Art Moderne. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organising an exhibition at the Galerie Pierre for June, thus laying the foundations for a close collaborative relationship that would last six years. He held regular exhibitions at the Pierre Gallery and met I. M. Pei and his wife Eileen, opening his circle of exhibitions in Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colourist, strongly influenced by the work of Paul Klee, for its expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting colour, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of colour, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some grey tones.
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.
ALEKOS FASSIANOS (Greece, 1935).Untitled, 1992, from the "Suite Olympic Centennial".Silkscreen 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.A leading contemporary Greek painter, Alekos Fassianos reached the maturity of his personal style in the 1960s, focusing his work on themes drawn from Greek myths, Fayum portraits, Byzantine icons and shadow theatre. Fassianos began his training at the Athens School of Fine Arts (1956-60), where he was taught by Yannis Moralis. He then moved to Paris thanks to a French government scholarship (1962-64), which enabled him to study lithography with Clairin and Caroline Chariot-Dayez. At the end of this period, the artist decided to remain in the French capital, although from 1974 he lived between Athens and Paris. Since his solo debut in 1959, Fassianos has held exhibitions of his work in Paris, Athens, Thessaloniki, Milan, New York, London, Tokyo and many other cities. Named a knight of the French Legion of Honour in 2013, he is currently represented in major public and private collections in Europe and America.
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.
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)."Three spectators at the barrier", 1981.Oil on canvas.Signed and dated in the upper left corner. Titled and dated on the back.It has a patch on the back.Measurements: 73 x 92 cm, 74,5 x 94 cm (frame).Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he produced twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. In 1977 he moved to Holland, where he produced the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, producing sixty-two works in ceramic and bronze which were exhibited at the 1988 edition of ARCO. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés is today one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After an initial stage of correct figuration in which he recreated the landscape of his homeland, his work began to lean first towards dramatic expressionism and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic and somewhat erotic world, he developed a body of work whose roots conceal a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
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.
Pazifik - Südsee - - Richard Walter. Des Herrn Admirals, Lord Ansons Reise um die Welt, welche Er als Oberbefehlshaber über ein Geschwader von Sr. Großbritannischen Majestät Kriegsschiffen, die zu einer Unternehmung in die Südsee ausgeschickt worden, in den Jahren 1740, 41, 42, 43, 44, verrichtet hat, aus dessen Aufsätzen und Urkunden zusammengetragen und unter seiner Aufsicht an das Licht gestellet von M. Richard Waltern, Capellan auf Sr. Majestät Schiffe, dem Centurion in diesem Kriegszuge, aus dem Englischen in das Deutsche übersetzt. Mit 34 gestochenen Tafeln und Karten, davon 32 gefaltet. Leipzig u. Göttingen, Abraham Vandenhoeck, 1749. XLIV, 382 S., 14 Bll. Gr.-8°. HLdr. d. Zt. mit reicher RVergoldung, goldgepr. RSchild, Marmorvorsätze (etwas berieben, Bezug mit kl. Fehlstellen). Erste dt. Ausgabe. VD18 13770578. Sabin 1640. Henze I, 82. - Offizieller Bericht über die aufsehenerregende Weltumseglung des Engländers George Anson (zuerst 1748 in London erschienen), aufgeschrieben von dem Kaplan Richard Walter. Die Fahrt mit der "Centurion" (die als einziges von acht gestarteten Schiffen zurückkehrte) führte um Kap Horn, nach Peru u. Mexico sowie über die Marianen nach Macao und Canton. Mit 3 großen Karten von Patagonien, den Philippinen und dem Pazifik und reichem Tafelwerk, u.a. zahlreiche Küstenansichten des Feuerlandes mit Schiffen. - Papierbedingt gebräunt und etwas braunfleckig. Im unteren weißen Rand teils mit schwächerem Wasserfleck. Karte der Philippinen mit kurzem Einriss. Wohl erhalten. Pacific - South Seas - With 34 engraved plates and maps, 32 of them folded. Bound in cont. half leather with rich gilt decoration on spine and gilt label, marbled endpapers (somewhat rubbed, cover with small missing parts). - First German edition. - Official account of the sensational circumnavigation of the world by the Englishman George Anson (first published in London in 1748), written down by the chaplain Richard Walter. The voyage with the "Centurion" (which was the only one of eight ships to return) led around Cape Horn, to Peru and Mexico as well as via the Marianas to Macao and Canton. With 3 large maps of Patagonia, the Philippines and the Pacific and numerous plates, among others with coastal views of Tierra del Fuego with ships. - Paper browned and somewhat brown-stained. Lower white margin partly with weaker waterstain. Map of the Philippines with a short tear. Well preserved.
Uwe Wandrey (Pseud. Peer Brax). Reizreime. Nonnendose 2 und 4. 2 Tle. (von 7 ersch.). Um 1966. Je 1 gerolltes Blatt (ca. 56 x 13,5 cm) mit je 1 gerollten Titelblatt mit Auflistung aller ersch. Nonnendosen (ca. 12,5 x 19,5 cm). In farb. bemalten OPp.-Röhrchen mit Deckel u. mont. Titelschild (ca. 15 x 3,3 cm) (stellenw. etw. angeschmutzt u. berieben). Sehr seltene Erstveröffentlichung des Autors (wohl spät. Aufl.?). Im KVK nur in der Deutschen Nationalbibliothek nachweisbar. Dort zum Erscheinen Hamburg, Quer-Verlag, 1966 angegeben. Bei einem der vorliegenden Exemplare "Vertrieb: Manfred Blunck" vermerkt. - Enthält: Nonnendose 2. In der Hand wärmen sie den Silbergatten. - Nonnendose 4. Manche Nonne trägt im Knie unterm Rock ein Genie. - Jede Papierrolle mit Gedichten zu Nonnen, die Strophen durch die Darstellung einer nackten Nonne unterteilt. - Insgesamt ordentlich erhalten. 2 parts (of 7 published). Each with 1 rolled sheet and 1 rolled title page listing all published boxes of nuns. In col. painted orig. cardboad tubes with mounted title label (in places somewhat soiled and rubbed). - Very rare first publication of the author (edition?). In KVK only available in the German National Library. There indicated for publication Hamburg, Quer-Verlag, 1966. One of the present copies mentions "Vertrieb: Manfred Blunck". - Each paper roll with poems on nuns, the stanzas divided by a depiction of a naked nun. - Overall good condition.
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