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Lot 47
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Cairo", desert series, 1984.Oil on canvas.Signed, dated and titled on the back.Size: 61,5 x 50 cm; 75 x 57 cm (frame).Josep Guinovart's work has always shown a strong link with the earth and with the harmony and relationship between the human being and his environment. In this piece the artist proposes an aesthetic that starts from the aridity of the desert, rescuing through brown and orange tones the atmosphere of the desert understood from an aesthetic lyricism.Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to embark on a frenetic activity which he would continue after his return to Spain. In the late 1950s he was a member of Informalism and always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
Lot 34
MATTEO BASILÉ (Rome, 1974)."Trans- Avanguardía Series", 2004-2005.Mixed media print on aluminium.Work referenced on the artist's website.Signed on the back.Sizes: 150 x 100 cm; 154,5 x 104,5 cm (frame).Matteo Basilé began his career in the early 1990s, establishing himself as one of the first artists in Europe to fuse art and technology. Reconciling opposing ideas such as beauty and the grotesque, the real and the surreal, natural and artificial. Exploring the nature of humanity, the artist developed his own narrative, which crystallised in artistic serias such as transavanguarde (2006), los santos vienen (2007), este orientado (2009), thishumanity (2010), aterrizaje (2012), invisible (2014), pietra santa (2016), viaje al centro de la tierra (2017), stardust (2018), memento (2019), and mnemosyne (2021). Basilé's research can be seen as an interface between East and West (in fact, he lived and worked for almost 8 years in Southeast Asia), a dialectic that works in collision between tradition and modernity, between the professional and sacrifice. Only based on multicultural and timeless (timeless and multicultural) signs or values, because it instead includes visually a more global language where the connubial between dream, fantasy and real, is no longer the predominant real character. His anti-eroes stand out as meticulous, realistic portraits, recalling classical history yet always incorporating the spirit of the present time. Basilé's poetics is an iconographic universe, the result of a combination of technological mannerism and surrealism.Matteo Basilé's (Rome 1974) solo exhibitions include: Matteo Basilé-Utopia, Vittoria Colonna Museum of Modern Art, Pescara, 2006; No Man's Land, Guidi & Schoen, Genoa, 2006; Alchemical Primordiality, Galleria Pack, Milan, 2005; Lord of the Flies, Galerie Beukers, Rotterdam, 2004. He has also participated in numerous group exhibitions, including On the edge of vision - New idioms in contemporary Indian and Italian art, Victoria Memorial Hall, Kolkata / National Gallery of Modern Art, New Delhi / National Gallery of Modern Art, Mumbai; Arterritory. Art, Territory, Memory, Centrale Montemartini, Rome, 2006; Nature and Metamorphosis, Urban Planning Exhibition Centre, Shanghai / Creative Art Centre, Beijing, 2006; Sound & Vision, City Museum / Palazzo della Penna, Perugia; Evil. Exercises in Cruel Painting, Palazzina di Caccia di Stupinigi, Turin, 2005; Italian Six, Barbara Davis Gallery, Houston, 2003. Basilé was the winner of the New York Price, Columbia University, 2002/2003.
Lot 39
MANUEL SALINAS MILÁ (Seville, 1940- 2021)."Salinas".Oil on paper glued to board.Signed in the lower right-hand corner.Measurements: 50 x 65 cm; 71.5 x 89 cm (frame).A work of abstract aesthetics, where the author has used a pictorial language of open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms, the fruit of experimentation, pure stain and gestural brushstrokes, are not limited to a composition but go beyond it, indicating to the spectator that they are forms, ideas or suggestions that go beyond the frontiers of the purely pictorial.A self-taught painter, Manuel Salinas is one of the leading representatives of Spanish abstraction in the last twenty-five years. His first exhibition dates from 1962, and from then on he exhibited his work in Spain, Portugal, Morocco, Colombia, Sweden, the United States, Serbia, France, Greece, Bulgaria and Mexico. In 2003 two retrospectives were devoted to him, one in Seville, organised by the Caja San Fernando, and another travelling around Europe, with Sofia as the starting point, organised by the Ministry of Foreign Affairs. He has works in the Reina Sofía Museum, the La Caixa Foundation, the Andalusian Centre of Contemporary Art, the Contemporary Art Museums of Valladolid, Madrid and Tenerife, the Vázquez Díaz Museum and in the collections of the Bank of Spain, Olivetti, Argentaria, Endesa, BBV and Avianca (Barranquilla, Colombia). The artist also owns two works included in the book by the critic Francisco Calvo Serraller "Las cien mejores obras del siglo XX" (Madrid; TF and Sociedad Estatal España Nuevo Milenio, 2001).
Lot 7
JOSÉ LUIS PASCUAL SAMARANCH (Barcelona, 1947)."Homage to Magritte". 2005.Corten steel.Size: 240 x 100 x 140 cm.In this sculpture, the profile of a character with a bowler hat is cut out in front of a door cut out with the profile of the same figure. The allusion to Magritte is clear, as a tribute that Pascual Samaranch pays to the surrealist painter, master of unfolded worlds and games of illusion. The Barcelona sculptor has developed his imaginary on the basis of the play of planes, shadows and silhouettes, which is once again evident in this piece.A painter, sculptor and engraver, José Luis Pascual studied architecture at the Escuela Técnica Superior de Barcelona, where he graduated in 1970. Since the beginning of his career, he has produced and edited several books, of which "Monografía destructiva sobre la comunicación gráfica" (1975) is the first. Since then he has produced other books and folders of lithographs and engravings, presented in such outstanding galleries as René Métras and Gaspar (Barcelona), or Sen (Madrid), in Biennials such as the International of São Paulo (1981) and Venice, and in other centres such as the Arnau Theatre in Barcelona (1986). He has also ventured into the disciplines of video art, sculpture and poster art, as well as creating several trencadís murals. Pascual has exhibited his work in Spain, Italy, Brazil, Belgium, Switzerland, France, the United States and Andorra, and develops a multidisciplinary figurative language based on the play of silhouettes and planes. His work evolved, from the 1970s onwards, from an expressionism limited to black and white to a language close to pop at the end of that decade, integrating colour and elements from comics. In the mid-1980s he began his period of wrought iron sculptures that describe profiles or silhouettes, as if they were the shadow of a figure, within a poetics that seeks to emphasise a kind of immateriality or lightness of the concept summarised in planes, with the almost total absence of volumes. When this repertoire is translated into painting, from the late eighties onwards it acquires certain neo-expressionist tints, sometimes approaching abstraction, especially through the formal recourse of his zigzagging lines and the rhythmic decomposition of those sketchy profiles of his sculpture.
Lot 5
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Un cap", 1990.Oil and material on canvas.Signed and dated in the lower right corner and on the frame.Size; 100 x 81 cm; 104 x 85 cm (frame).Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to initiate a frenetic activity which he would continue after his return to Spain. In the late 1950s he became part of Informalism and was always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
Lot 109
MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Dibuixant pintat" (Painted draughtsman), 20.2.1980.Mixed media (paint, gouache and charcoal) on paper.Signed, dated and titled in the lower margin.Work published in the artist's catalogue.Measurements: 37 x 27 cm; 53 x 39 cm (frame).A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important awards, such as the Prince of Asturias Prize for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.
Lot 16
MANUEL SALINAS MILÁ (Seville, 1940).Untitled, 2008.Oil on panel.Signed and dated on the back.Measurements: 40 x 40 cm.Oil on panel in which the artist has used a language of an abstract nature. The work is defined by an aesthetic in which the colour has been applied with wide and diverse brushstrokes, which transmit different qualities to the spectator. These qualities can be appreciated in the transparencies and conjunctions that occur between the different colours. Despite the appearance of randomness linked to attraction, in this case the author presents us with a composition where a certain tendency towards geometry can be appreciated. This characteristic can be seen not only in the physiognomy of the forms, but also in the presence of a line that limits the white colour.A self-taught painter, Manuel Salinas is one of the leading representatives of Spanish abstraction in the last twenty-five years. His first exhibition dates from 1962, and from then on he exhibited his work in Spain, Portugal, Morocco, Colombia, Sweden, the United States, Serbia, France, Greece, Bulgaria and Mexico. In 2003 two retrospectives were devoted to him, one in Seville, organised by the Caja San Fernando, and another travelling around Europe, with Sofia as the starting point, organised by the Ministry of Foreign Affairs. He has works in the Reina Sofía Museum, the La Caixa Foundation, the Andalusian Centre of Contemporary Art, the Contemporary Art Museums of Valladolid, Madrid and Tenerife, the Vázquez Díaz Museum and in the collections of the Bank of Spain, Olivetti, Argentaria, Endesa, BBV and Avianca (Barranquilla, Colombia). The artist also owns two works included in the book by the critic Francisco Calvo Serraller "Las cien mejores obras del siglo XX" (Madrid; TF and Sociedad Estatal España Nuevo Milenio, 2001).
Lot 43
SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989)."Christ of Saint John of the Cross".Bronze sculpture, copy 268/350.Signed on the right leg. Numbered on the foot of the cross.Base in black veined marble.Size: 43,5 x 20,5 x 12,5 cm (figure); 7 x 16 x 16 x 16 cm (base).This bronze sculpture represents the "Christ of St. John of the Cross", a transposition of the canvas kept in the Kelvingrove Museum, Glasgow, UK. Painted in 1951, it is one of Salvador Dalí's most emblematic paintings. For the position of Christ, the painter was inspired by a painting by Saint John of the Cross, kept in the Monastery of the Incarnation in Avila. The piece was cast from a model directly modelled in wax by Dalí, demonstrating his mastery in the field of sculpture.A painter and sculptor, Salvador Dalí was one of the leading exponents of the Surrealist movement. He made his individual debut in 1925 at the Dalmau Galleries in Barcelona. In 1926, after being expelled from the San Fernando School of Fine Arts for indiscipline, he went to Paris. There he met the young Picasso and, four years later, joined the Surrealist movement. Dalí's production during this period was based on Freud's theories, acclaimed by Breton: representation of dreamlike images and everyday objects in unsuspected and surprising compositional forms. Some of the characteristics of his work at this time became distinctive of all his later work. He also absorbed the influences of diverse artistic styles, from classical academicism to the most groundbreaking avant-garde. His work greatly influenced the direction of Surrealism in the years that followed, and he was acclaimed as the originator of the paranoiac-critical method, the essential combination of the real and the imaginary. Following his first solo exhibition in New York in 1934, his international reputation was definitively consolidated. Most of his production is housed in the Dalí Theatre-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) and the Dalí Universe in London.
Lot 117
LUIS FEITO (Madrid, 1929-2021).Untitled, 1956.Oil on canvas.Work published in the Catalogue of the exhibition: Feito. Work 1952-2002. Retrospective of the artist at the Museo Nacional Centro de Arte Reina Sofía, Madrid. 2002. P. 114.Presents stamp on the frame of the Egam Gallery (Madrid).Signed in the lower left corner. Signed and dated on the back.Measurements: 57 x 57 cm; 79 x 79 cm (frame).In this work the author conceives the image only through scarce colors, giving prominence to white, red and black, typical of his works of the sixties. These become aware of each other, merging to show a subtle range of shades referring to each of the colors, creating in turn a play of light and shadow that starts from the texture of the work itself. This characteristic denotes the great technical skill of the author, who not only plays with the aesthetic result but also with the symbolic charge associated with each of the colors. 56 was a year of great relevance in the artist's career, since it is when he moved to Paris and settled in the city, thanks to a scholarship. The works of this period show a great tension between the empirical and the theoretical world. Close to abstraction, his compositions still show a certain trace of the physical, which he tried to eliminate. During 1956 and 1958, his works aesthetically approached informalism, although without completely abandoning geometry.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first solo exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor of the School of Fine Arts of San Fernando in 1954, two years later he leaves teaching and goes to Paris with a scholarship, in order to study the current avant-garde movements. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most relevant artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world.
Lot 21
RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).Ink on paper, in which the artist represents one of his famous female silhouettes. The woman is dressed with large floral headdresses, which gives rise to the interpretation of the same as representations of Flora, a theme that was recurrent in the life and work of the author.René Portocarrero is best known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
Lot 31
D*FACE (London, 1978)."End to those dogs", 2015.Silkscreen, copy 25/25.Signed and justified by hand.Dry Stamp.Size: 99,5 x 42 cm; 101 x 43 cm (frame).D*Face is a British street artist known for his distinctive graffiti, stickers and posters placed in various cities around the world. With recurring celebrity imagery and punk iconography, D*Face's work is characterised by his bright graphic aesthetic, his focus on consumerism and the ways in which he shapes everyday life. His diverse range of influences includes skate culture, early New York underground graffiti, pop art and Shepard Fairey's Obey campaign. D*Face's identity was a mystery until 2008, when he revealed his name to the public. "I don't think it's necessarily relevant that you know who I am in regards to my work," he once explained. "The work speaks for itself, and if it doesn't speak for itself, then I like people to reinterpret it according to their own views." The artist lives and works in London. An admirer of Henry Chalfant's graffiti on the New York underground, and the skateboard drawings published in Thrasher magazine, he dabbled in the world of skateboard fanzines. He attended an illustration and design course and worked as a freelance illustrator/designer while honing his street work. His influences include Shepard Fairey's "Obey Giant" art campaign, Jim Philips, hip hop, punk music and cartoons. His first major solo exhibition in London, Death & Glory, was held at Stolenspace Gallery in 2006. This first event sold out. Since then, his exhibitions have included a solo show, Eyecons, at the O Contemporary gallery in Brighton in March 2007, which was overwhelmingly well attended. This included new paintings, an installation and two prints: Kurt "Kant Complain" and Cli-Che. D*Face was director and curator of the Outside Institute, London's first contemporary art gallery focusing on street art. In 2005 the Outside Institute moved and changed its name to become the Stolen Space Gallery. In 2010, he collaborated with Christina Aguilera, on the cover of her album Bionic. In October 2013, D*Face participated in Art Wars at the Saatchi Gallery, curated by Ben Moore. He participated in the 2015 edition of the All City Canvas Global Series, with a mural on the façade of the Hotel Lisboa in Colonia Roma. This project was part of the artistic activities of the Dual Year Mexico-UK. In 2016, he designed the cover of Blink-182's album California.
Lot 26
RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the Sambra International Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
Lot 64
AURORE LEVASSEUR, (1987, France)."Nymphes et Satyres", 2021.Series "From Art History With Love".Oil on paper.Signed.Size: 50 x 34 cm."From Art History With Love" is a series of studies on paper based on academic style paintings, cut out and incorporating the palette of colour research in its margin. The aim is to highlight the creative process and play with notions of figuration, abstraction and the origin of the image.Artist trained at the Ecole Supérieure d'Art et de Design in Le Havre-Rouen (France) and at the Academy of Fine Arts in Palermo (Italy).In her painting, Aurore Levasseur challenges the stereotypical representation of bodies in today's world and in the history of art, transposing them into timeless figurative compositions.It is not a question of fetishising a type of body, but of bringing a more glorious gaze to it. A look of tenderness, love, sensuality and confidence, but also of tension, suffering and strength, so many adjectives that are usually associated with heroes.And what better way to talk about heroes than in myths and stories?The history of art is rich in inspirational scenes, haloed demiurges, praised martyrs, goddesses and muses. But in our time human beings have lost their magic, bodies, and in particular that of corpulent women, their favourite subject, are stigmatised and femininity is codified.In the long-term project "Mythologies of the female body", of which a first part of the exhibition was presented at the Untitled Factory gallery in Paris in May 2019, the selection aimed to recover what is beautiful, strong and sacred in the feminine and in her flesh. It is on this theme that Aurore Levasseur continues her creation, integrating figures from folk tales as well as mythological scenes, each time proposing various visions of femininity and the human.
Lot 61
DAMIEN HIRST (Bristol, United Kingdom, 1965)."Shark, 2009.Acrylic on paper, sping painting.With artist's wet stamp and dry stamp.Signed on the back with wet stamp.Measurements: 68 x 52 cm.This work was made on 24 April 2009, on the occasion of the opening of the exhibition Requiem, reality at the Pinchuk Art Center in Kiev. The exhibition was open from 20 April to 20 September 2009. One of Damien Hirst's most famous works, created in 1991, is "The Physical Impossibility of Death in the Mind of a Living Being", in which the body of a shark floats in a hermetically sealed pond. It was from then on that he began to introduce the figure of the shark into his production, in such a way that he materialised the idea, using the silhouette of a shark and endowing its interior with a rich abstract colouring. Among other works, Damien Hirst is known artistically for his "spin paintings", such as the one shown here, which are paintings made on a rotating circular surface.Damien Hirst was born in Bristol on 7 June 1965, in a suburban environment with economic problems. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to educate himself from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later left to move to London. During this time he was working in construction while also applying to various art schools such as St Martins and the Welsh College. He was eventually accepted at Golsdmiths College, which, at the time, due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year of his degree, Hirst took on the role of artist and curator, and managed to stage an exhibition that would change the course of British art, his first solo exhibition at the age of 26. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that he had run out of places to exhibit, he had done it all and too quickly. As a result, he was soon dubbed Hooligan Genius by the media. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect: wrapped in an aura of romanticism, he made revolutionising the art world look easy. On several occasions he has acknowledged his desire to be famous and in the face of criticism he has defended himself with phrases such as "they couldn't admit to themselves that they wanted to be famous and resented not being famous" or "I think my desire was to be more famous than rich, I think the desire to create art and be famous is like the desire to live forever with two obsessions: death and celebrity". Damien Hirst has work in the MoMA in New York, the Tate Gallery and the Victoria & Albert Museum in London, the Palazzo Gras in Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn in Washington D.C. and the Neu Galerie in Graz (Austria), among other major public and private collections.
Lot 111
PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934)."Music hall", c. 1889.Pencil on paper.Work reproduced in:- MARÍA JOSÉ SALAZAR, Catalogue Raisonné; Pablo Gargallo (1881-1934), Drawings. Volume I, p. 180. Fig. 128.Signed in the lower right corner.Size: 32.5 x 20.5 cm; 69 x 56 cm (frame).Known for his sculptural work, Pablo Gargallo not only used drawing as a support for his three-dimensional work, but also as a means of personal and independent expression. An example of this is this drawing, probably executed in Barcelona, in which he shows several young people with their backs to the viewer, awaiting a spectacle that is outside the composition. Aesthetically, a strong stylistic influence of Catalan noucentisme can be appreciated. Pablo Gargallo is considered the forerunner of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith's shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training in the workshop of the sculptor Eusebio Arnau and at the La Lonja School, with Venancio Vallmitjana as his main teacher. At the height of the Modernist movement in Barcelona, Gargallo frequented the gatherings at "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. This is why his early works were influenced by Modernisme, as in the case of the decoration of buildings in Barcelona that he did in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Creu i Sant Pau and the Palau de la Música. In 1903 Gargallo was awarded a grant that enabled him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, he made frequent trips there. In Paris he encountered the aesthetic formulations of Cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects in an attempt to find the authentic three-dimensional expression of the Cubist postulates. Around this time he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he produced his first masks, highly simplified pieces made from cut-out sheet metal and linked to the Cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and to exalt voids through the penetration of light into interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From then on his style took on a very personal dimension, derived from his interpretation of Cubism, based on the search for a formal synthesis of the figure in ever-fluid geometric planes, replacing conventional materials with sheets of wrought iron, and introducing a new sculptural language by introducing the void as volume and endowing his figures with great expressive drama. Throughout his life, Gargallo developed two apparently opposing styles in parallel: one with classical roots, related first to modernism and later to noucentisme, and the other avant-garde, which experimented with the disintegration of space. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Musée d'Art Moderne in Paris and the Reina Sofía in Madrid, among many others.
Lot 54
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Silkscreen on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, to the desired and the necessary". This is a silkscreen belonging to the book by Eduardo Chillida made up of five etchings, three woodcuts, two relief silkscreen prints, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Lot 108
ROBERT INDIANA (New Castle, Indiana, USA, 1938 - Vinalhaven, Maine, USA, 2018)."LOVE.Handmade wool tapestry.Signed in the lower right corner.Size: 241 x 241 cm.Robert Indiana is one of the preeminent figures on the American art scene since the 1960s, leading the development of the assemblage technique, the Hard Edge movement, and American Pop Art. Indiana studied at the Art Institute of Chicago, the Skowhegan School of Painting and Sculpture, and also at the Edinburgh College of Art. As well as a painter, Robert Indiana has been a theatrical and costume set and costume designer, in productions such as Santa Fe Opera's The Mother of Us All, and acted in the film Eat directed by Andy Warhol.He proclaimed himself to be "the American painter of signs" and throughout his long career he explored, and at the same time constructed, the American identity through diverse iconography.His particular visual language, which could be defined as 'lyricism', marked by slogans such as HUG, EAT and the famous "LOVE". It has become the emblem that continues to unite many artistic generations and is now part of the collective unconscious worldwide.The iconic LOVE series, recognised by LO and VE stacked one on top of the other and arranged in a square, and to which our piece belongs, was first used in a set of poems written in 1958. Then, in the summer of 1965, MoMA commissioned Indiana to design the Christmas cards, finally approving this red, blue and green design. Its true semantic translation is deeply linked to Christianity and the artist's childhood, brought up according to the Church of Christ, Scientist. In an epistolary with collector Larry Aldrich, Indiana shares that there was a phrase 'God is Love' written by the founder of this church, Mary Baker Eddy, which was an unofficial motto of scientific Christianity. From this was born the idea of higher love that Indiana eventually wanted to convey through all his work from the 1960s until his death. In 2008 Indiana created a very similar image for Barack Obama's presidential campaign, in which this symbol was used for various propaganda items.The tapestry featured in our auction, while not the artist's most common technique, ultimately conveys the essence of his entire oeuvre and iconography.Robert Indiana had hundreds of solo and group exhibitions worldwide. Particularly in Spain he exhibited on three occasions, in 1992 at the Galería 57, in 2009 at the Galería Barcelona, and finally in 2012 at the Museo de Pasión in Valladolid.
Lot 35
ORLAN (Saint-Étienne, France, 1947)."Disfiguration-Refiguration, Pre-Columbian Self-hybridizations, No. 21, 1999.Photograph. Copy 3/7.Work reproduced on the artist's website.With a bump on the frame.Signed, dated, justified and titled on the back.Size: 90 x 57 cm; 125 x 94 cm (frame).Orlan is known for intervening her own body, carrying out different aesthetic operations on herself. In this particular case, the piece preserves this idea of body modification and manipulation, however, in this work, the artist goes a step further. She not only questions her own identity, but also appropriates another culture. To do so, she makes use of an iconography associated with different pre-Columbian vestiges, such as the necklace, the shape of the hairstyle, the facial tattoos, and even the physiognomy of the nose, which is reminiscent of some profiles found in Aztec reliefs.ORLAN's career as a performance artist began in 1964, when he performed Marches au ralenti (slow motion walks) in his hometown of Saint-Étienne. During these performances, he walked as slowly as possible between two central parts of the city. In 1965, ORLAN produced MesuRages, in which he used his own body as a measuring instrument. With his "ORLAN-body" as a unit of measurement, he assessed how many people could fit into a given architectural space. This was the first time he used his body in a performance piece. ORLAN reused this concept in several subsequent projects. Between 1964 and 1966, ORLAN produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces and today only one copy of each photograph remains. In this series, she posed nude in various yoga-like positions. One of the most famous images from this series is ORLAN accouche d'elle m'aime.Between 1967 and 1975, ORLAN produced a body of work entitled Tableaux Vivants. He based them on the works of baroque artists such as El Greco and Gericault. He used inmates as models, wore exaggerated imitation baroque costumes and was inspired by Caravaggesque stereotypes. In 1971, ORLAN "christened itself" Sainte-ORLAN, adorning itself in black corrugated vinyl and white faux leather. Colour photographs of Sainte-ORLAN were subsequently incorporated into photo-collages, videos and films tracing a fictitious hagiography. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN performed the controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais in Paris, a life-size photo of his torso was turned into a slot machine. Spectators could watch the coin inserted into the torso descend into a groin before receiving a kiss from the artist.ORLAN founded the International Performance Symposium in Lyon. In 1982, he collaborated with artist Frédéric Develay to create the first online contemporary art magazine, Art-Accès-Revue, on the French precursor of the Internet, the Minitel. In 1990, ORLAN initiated the Reincarnation of Sainte-ORLAN. This is a series of plastic surgeries through which the artist transformed herself into elements of famous paintings and sculptures of women. As part of her manifesto "Carnal Art", these works were filmed and shown in institutions around the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York. ORLAN's goal in these surgeries is to acquire the ideal of female beauty as depicted by male artists. When the surgeries are completed, she will have the chin of Botticelli's Venus, the nose of Jean-Léon Gérôme's Psyche, the lips of François Boucher's Europe, the eyes of Diana (and the forehead of Leonardo da Vinci's Mona Lisa. ORLAN chose these characters, "not because of the canons of beauty they represent... but because of the stories associated with them".
Lot 75
VICENTE ARNÁS LOZANO (Madrid, 1949)."Circocerentes", 2010.Oil on canvas.Attached certificate of authenticity issued by the artist.Signed in the lower right corner. Signed, dated and titled on the back.Measurements: 95 x 115 cm; 73 x 92 cm (frame).The images of Vicente Arnás always stand out for their realism, in which he introduces an element of distortion that results in disturbing works, close to magical realism or surrealism. Creating independent and personal universes such as the one reflected in this painting.Vicente Arnás is a painter from Madrid who began his artistic career linked to the world of advertising. After several years of experience, in 1976, he had his first individual exhibition, which was held in the Sala Macarrón in Madrid. After the success of his first exhibition, he began an exhibition career that has taken him to places such as New York and different European countries. He has participated in prestigious fairs such as Arco, or Europ Art, held in Geneva. He has also been awarded on numerous occasions, being medal of honour in the BMW painting prize and receiving the prize of the Real maestranza of Seville, among others. This has earned him the recognition of both the public and the critics. His painting is characterised by the recreation of dreamlike, placid worlds, where time seems to stand still. He creates worlds of realistic aesthetics, close to currents such as magical realism, or to influences such as those of the painter Arcimboldo or Bosch. For a period he was part of the group "Nueve expresiones" with whom he exhibited in several collective exhibitions.
Lot 94
BALTASAR LOBO (Cerecinos de Campos, Zamora, 1910 - Paris, 1993)."Au Soleil", 1970.Bronze, copy E.A.Susse Paris Foundry.Signed and justified.Measurements: 65 x 63 x 29 cm.With his characteristic language of forms, which oscillate between geometry and the poetics of volume, Baltasar Lobo presents us not with a concrete woman, but with the idea or the concept of woman. The figure adopts a strong, attractive, decisive and sensual attitude, a contemporary Venus not only as a passive creator, but as an active generator and protagonist.A sculptor and draughtsman, an outstanding member of the historical avant-garde, Lobo began his training in an imagery workshop in Valladolid, where he entered at the age of twelve. In 1927 he obtained a scholarship to enter the San Fernando Academy in Madrid, although he only attended its courses for nine months. He then attended evening courses at the School of Arts and Crafts, while earning his living by sculpting tombstones. In 1946 he settled in Paris, where he lived and worked for the rest of his life. There he was welcomed by Picasso, and became friends with the sculptor Henri Laurens. Lobo held numerous solo exhibitions, both in Spain and France and in Sweden, Luxembourg, Switzerland, Germany, Japan and Venezuela. Of particular note was the retrospective devoted to his work at the Museo de Arte Moderno in Madrid in 1960. He also took part in important group exhibitions in Europe. His sculptures are now part of the urban landscape of cities such as Zurich, Annecy, Paris, Luxembourg and Caracas. Throughout his career he received important awards, such as the Official Prize for the Arts and Letters of France in 1981, the National Prize for Plastic Arts of Spain in 1984, and the Andres Bello Order of the Venezuelan Government in 1989. Two years after his death, in 1995, the Museo de Bellas Artes de Caracas dedicated an exhibition to him. An open-air exhibition of Lobo's sculptures has recently been held in the city of Valladolid, and has subsequently moved to other capitals such as Seville, Lisbon and Madrid. In Lobo's sculpture, over the years, the form has become stylised to the point of approaching abstraction, without losing its eminently figurative origin. His personal evolution is characterised by the search for the purity of volumes and the reduction of forms to the most essential, both in bronze and in granite and marble. Thematically, the woman has always been the main reference point for Lobo's work. His production is divided into two clearly differentiated periods; the first, more primitivist, and a second period marked by the influence of surrealism. There is currently a museum in Zamora dedicated to his work, which bears his name. Lobo is also represented in the Museum of Fine Arts of Asturias, the Connaught Brown Gallery in London, the Thomas Ladengalerie in Munich, the MAPFRE Foundation in Madrid, the Kunsthalle in Düsseldorf and the Lentos Kunstmuseum in Linz (Austria), among others.
Lot 112
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Nu et sculptures", "Suite Vollard", 1933.Etching.Signed in pencil. 37`8 x 29´7 cm (print); 44´5 x 33´6 cm (paper).In common agreement with historians and specialists, The Vollard Suite is considered the supreme work of 20th century engraving. The Vollard Suite is the fruit of intensely creative moments in which Picasso, in the manner of a graphic diary, developed his obsessions on themes of love, desire and existential fears. The definitive edition of the series began to be printed in 1939, before Vollard's death in July of the same year. Once the print run was completed, the prints went, along with other unpublished series, to the French art dealer's warehouses. The Vollard Suite prints were shown for the first time in 1979 at the exhibition held at the Musée d'Art Moderne de la Villa in Paris, from where they became part of the holdings of the Musée Picasso in Paris. Throughout the Vollard Suite the main protagonist is Marie-Thérèse Walter, Picasso's great love of the 1930s. From 1932 onwards his interest in her as a model increased, she appears so frequently in his paintings, drawings, prints and sculptures, in her various moods and forms, that she can be considered the great heroine of Picasso's fictional world. Caught between the anger of his wife Olga and his passion for Marie-Thérèse, Picasso came to consider it the worst moment of his life. In many prints from the 1930s, all the female characters are portraits of the young woman.Marie-Thérèse was for Picasso the antithesis of death, the fullness of life, the ardour of youthful love, the woman-child and the embodiment of his pictorial ideal already proclaimed in the neoclassical female figures of the 1920s.The Vollard Suite is a clear testimony to Picasso's skill as a draughtsman. The one hundred prints cover a wide variety of subjects in Picasso's universe. The series is a considerable part of Picasso's graphic production from 1930 to 1937, and many of the works not included in it have similar themes. Each of the prints becomes comprehensible when analysed in the context of the series as a whole: it is the themes and motifs that preoccupied Picasso that impart unity and coherence to the prints. The major themes are: the passion of love personified in the model, her relationship with artists past and present, and the extent to which creative activity can be considered divine. The two preferred incarnations of the artist are as a classical sculptor and as a Minotaur, opposing personalities that form a typological dichotomy comparable to Nietzsche's Apollonian-Dionysian antithesis. In the prints, an Apollonian linear style is sometimes fused with dark, baroque strokes of Dionysian impetus.
Lot 55
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)"Boy running".Polychrome resin, copy 27/33.Signed and numbered.Measurements: 51 x 24 x 42 cm.Presents original certificate of authenticity of the artist.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 city's artistic circles. 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 the Museum of Contemporary Art in Barcelona 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. 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 defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. 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. He 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 Museum of Contemporary Art in Barcelona.
Lot 50
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Lot 89
ANTONÍ TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled, 1970.Paint and pencil on cardboard.Attached certificate of authenticity issued by the Comissió Tàpies.Work registered in the Archive of the artist's complete works, no. T-9836.Signed in the lower right-hand corner.Measurements: 42 x 29.5 cm; 77 x 65 cm (frame).In this sober painting Tapies emphasises in the composition two elements which he arranges on an ochre background with a complex tonal gradation. They are an expressive red line that denotes the artist's passion and a cross, an iconographic element that Tapies made his own. A cross that is not religious, but spiritual, as the artist described in the article Cruces, equis y otras contradicciones, included in the book El arte y sus lugares (1999): "The interest in the cross is a consequence of the great variety of meanings, often partial and apparently different, that have been given to it: crosses (and also Xs), as coordinates of space, as an image of the unknown, as a symbol of mystery, as a sign of a territory, as a mark to sacralise different places, objects, people or fragments of the body, as a stimulus to inspire mystical feelings, to remember death and, specifically, the death of Christ, as an expression of a concept, paradoxical, as a mathematical sign, to erase another image, to manifest a disagreement, to deny something."Co-founder of "Dau al Set" in 1948, Tàpies 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 travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he 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 Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies 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.
Lot 1891
A First World War period bronze memorial plaque, detailed 'Frederick William Baldwin'. Note: there is recorded on the C.W.G.C. database a Frederick William Baldwin, who served with the Northamptonshire Regiment, died 9th September 1916 and is commemorated on the Thiepval Memorial. There is another F.W. Baldwin also recorded on the database.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1880
A First World War period bronze memorial plaque, detailed 'William James Parsons'. Note: William Parsons served with the 2nd/1st Bucks Bn. Oxford & Buckinghamshire Light Infantry, died 22nd August 1917, aged 36, and is remembered with honour on the Tyme Cot Memorial.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1918
A 1914-18 British War Medal and a 1914-19 Victory Medal to 'GS-27108 Pte.E.Crouch. R.Fus.' and a First World War Period bronze memorial plaque, detailed 'Edward Crouch', with the original folding card case. Note: Edward Crouch served with the 12th Bn. Royal Fusiliers, died 10th June 1917 and is remembered with honour on the Menin Gate Memorial.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1927
A First World War period Royal Air Force Mentioned in Despatch certificate to 'Lt. G.W. Miller, 9th Squadron, dated '16th March 1919', with facsimile signature of Winston Churchill, framed and glazed, together with a 1914-18 British War Medal to '1151 Pte.J.T.Jones R.W.Fus.' (lacking suspension) and two associated cap badges.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1916
A group of First World War medals, comprising 1914-15 Star to '11062 Pte.P.Reddy. R.IR.Regt', 1914-18 British War Medal to 'Deal 12130 -S- Pte.J.Overy. R.M' and five 1914-19 Victory Medals to '23279 Pte.E.J.Legrys. S.Wales Bord', '534724 Pte.G.L.Hatton. 15-Lond.R.', '8443D.A. P.Sutton.D.H. R.N.R.', '4-2261 Pte.J.Hutton. North'd Fus.' and '225916 Pte.S.E.Elwell. E.York.R.'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1894
A 1914-18 British War Medal and a 1914-19 Victory Medal to '741480 Gnr.S.Gilbert. R.A.', with a newspaper article relating to the Gilbert family and the First World War and the accompanying registered packet, a 1914-18 British War Medal and a 1914-19 Victory Medal to '840 Wkr.N.J.Bewley Q.M.A.A.C.', a named identity disc, a nursing badge, detailed 'Nora J.Bewley Queen's Nurse Oct.1932-Sept.1943', a Christian devotional pendant and a brass pay check, detailed 'Vickers-Armstrongs Ltd Crayford F C 2967'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1885
A group of First and Second World War awards, comprising 1914-15 Star to 'Mid. B.Coles, R.N.R.', 1914-18 British War Medal and 1914-19 Victory Medal to 'Lieut.B.Coles. R.N.R.', 1939-45 Star, Burma Star, 1939-45 Defence Medal, War Medal and Royal Naval Volunteer Reserve Decoration, George V issue, London 1928, named 'Lt Comr B.Coles R.M.V.R. 1910-1929', mounted on a bar, together with a set of eight corresponding dress miniature awards and a British War Medal with seven bars, comprising 'North Sea 1914', 'North Sea 1915', 'Belgian Coast', 'Narrow Seas 1916', 'Home Seas 1917', 'Mediterranean 1918' and 'Black Sea 1918.20'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1896
A First World War period bronze memorial plaque, detailed 'Edgar William Burn'. Note: Edgar Burn served with the Machine Gun Corps (Infantry), died 4th September 1916 and is commemorated on the Thiepval Memorial.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1856
A First World War period bronze memorial plaque, detailed 'James David Waghorn', together with his seaman's travel box and a black and white portrait photograph by Munns Gravesend. Note: James Waghorn served as an ordinary seaman in the Royal Navy and died 31st May 1916 aboard HMS Chester.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1813
A collection of seven mid-20th century Continental and world bayonets, including a Spanish M1941 Mauser blade, length 25cm, a Canadian model Mark II Ross rifle bayonet, blade length 25.5cm, and a First World War period German ersatz bayonet blade, length 31.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1882
A group of seven First World War and later dress miniature medals, comprising 1914-15 Star, British War Medal, Victory Medal with MiD spray, 1939-45 Defence Medal, War Medal, 1935 Silver Jubilee Medal and Romanian Order of the Star, military issue, together with a group of five First World War and later dress miniature medals, comprising 1914-15 Star, British War Medal with four unofficial bars, 'Narrow Seas 1914', 'North Sea 1915', 'North Sea 1916' and 'Mediterranean 1916', Victory Medal, 1935 Silver Jubilee Medal and Romanian Order of the Star, military issue, various ribbon bars and ribbons and a Princess Mary Christmas 1914 gift tin.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1884
A First World War period bronze memorial plaque, detailed 'Arthur Ernest Merle'. Note: Arthur Merle served with the 6th Bn. of the London Regiment (City of London Rifles), died 18th September 1916, aged 20, and is remembered with honour at the Heilly Station Cemetery, Méricourt-l'Abbé.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1917
A Khedive's Star (undated, suspension bar lacking), a 1939-45 Defence Medal, Canadian silver issue, a silver ARP badge, London 1939, a miniature First World War Star and a ribbon.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1919
A First World War Period bronze memorial plaque, detailed 'John Donald Alexander', with an associated case. Note: the Commonwealth War Graves Commission records J.D. Alexander, who served with the Royal Scots, died 22nd Aug 1917 and is remembered with honour within the Glasgow Western Necropolis.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1906
An India General Service Medal, George V first type, with bar 'Afghanistan N.W.F. 1919' and impressed naming to 'L-8976 L-Cpl. A.Paul, R.Suss.R.' (official corrections to the naming), and another with bar 'Waziristan 1921-24' and impressed naming to '159078.L.A.C. F.C.Welton. R.A.F.'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1910
A First World War period silkwork panel with a central depiction of the burning of Les Halles within panels of flowers, approx 64cm x 60cm, framed and glazed, together with an early 20th century silk fragment, detailed 'XV Henry IV' above a king's crown and Lancastrian rose, approx 43cm x 49cm, framed and glazed (both with damage).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1899
A First World War period bronze memorial plaque, detailed 'John Tong'. Note: John Tong served with the 8th Bn. Lancashire Fusiliers, died 21st March 1918 and is commemorated on the Pozières Memorial.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1879
Six First and Second World War medals, comprising 1914-15 Star to 'A.6637, R.G.Buckingham. SMN.,R.N.R.', 1914-18 British War Medal and 1914-19 Victory Medal to '6637/A. R.G.Buckingham. SMN. R.N.R.', 1939-45 Star, Atlantic Star and 1939-45 War Medal, together with an enamelled Merchant Navy lapel badge, detailed 'MN'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1890
A group of nine First and Second World War period medals and related Royal Marines badges to G. Camp, comprising 1914-18 British War Medal and 1914-19 Victory Medal to 'R.M.A.14810 Bugr. G.Camp', Naval General Service Medal, George VI issue, with bar 'Palestine 1936-1939' to 'CH.24509 G.Camp. A/CPL. R.M.', 1939-45 Star, Atlantic Star with bar 'France and Germany', Pacific Star, 1939-45 Defence Medal, War Medal and Royal Navy Long Service and Good Conduct Medal, George V coinage head issue, to 'CH.24509 G, Camp.MNE, R.M.' mounted on a bar, displayed in a frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1812
A 1907 pattern bayonet by Chapman with fullered blade, blade length 42.5cm, the pommel stamped 'SHC 530', with steel-mounted leather scabbard, together with a First World War period German ersatz bayonet blade, length 31.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
![*Bob Crooks First Glass [b.1965] 'Honeycombe' a glass sculpture: comprising a clear glass elliptical tray with matt honeycomb](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/b6f448fc-d44d-4979-bc5f-ae2800ca999b/468x382.jpg)
Lot 188
*Bob Crooks First Glass [b.1965] 'Honeycombe' a glass sculpture: comprising a clear glass elliptical tray with matt honeycomb faceted to the underside and two cased narrow mouthed vessels one with red the other with blue interior and with matt honeycomb cut exterior, the vessels diamond point etched Bob Crooks and one dated 2011, tray 30cm long.
![* Oliver Byrne Warman [b.1932]-The Old Punt; River Dronne, Flood. Aubeterre,:-two, the first signed with initialsboth signed](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/40b9bf7e-c074-4f6f-9409-ae2800cab924/468x382.jpg)
![* Camilla Nock [b.1944]-Space in The Memory; Abstract,:-two, the first signed and inscribed on the reverseoils on canvas, 101](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/ea52cfa3-741e-4d6b-a871-ae2800cac425/468x382.jpg)
Lot 508
A George III long stave, dated 1792, with gilded ball finial, inscribed G III. R / Royal Coat of Arms / HALESWORTH / 1792., on a brown ground, 143cm long Halesworth is a market town and civil parish in north-eastern Suffolk. A Roman settlement, it was first attested in the Domesday Book of 1086, where it appears as 'Healesuurda' and 'Halesuuorda'. The name means 'Haele's homestead'. Provenance: The 'Constable' Collection of Truncheons and Tipstaves Part II.
Lot 520
A George IV polychrome and ebonised wood truncheon, circa 1830, decorated with GR above a Crown and differenced Royal Coat of Arms, / TB / and the arms of Birmingham (Quarterly, the first and fourth quarters azure with gold lozenges joined bendwise, the second and third parted palewise indented gold and gules; over all a fess ermine charged with a gold mural crown), with a ribbed handle and leather martingale, 42cm longThe arms in the quarters in the shield are two distinct coats used by the family De Bermingham, who held the manor in the thirteenth century (and perhaps from the time of the conquest) until 1527, when Edward de Bermingham was deprived of his property by John Dudley, Duke of Northumberland, by means of a false charge of riot. The bendwise lozenges appear on the shield of an effigy in St Martin's Church, believed to be William de Bermingham, in the time of Edward I.Provenance: The 'Constable' Collection of Truncheons and Tipstaves Part II.
Lot 552
A late Victorian or Edwardian painted and turned hardwood truncheon, circa 1900, decorated with a Crown above a Royal Coat of Arms and inscribed / STAFFORDSHIRE / (Stafford Knot) / CONSTABRY in a cartouche, 39.5cm long A general emblem of the county of Staffordshire, as a civic emblem the Stafford knot was first used by the town of Stafford, and a facetious tradition has it that the place was so infested with rogues that it was necessary to devise a noose which would enable them to be hanged three at a time. Provenance: The 'Constable' Collection of Truncheons and Tipstaves, Part II
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