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Lot 99
mixed media on board, signed, titled label versomounted, framed and under glassimage size 37cm x 50cm, overall size 66cm x 77cmHandwritten artist's label versoLabel verso: Ray Smith, GlasgowNote: Leonard Gray was a quietly industrious painter whose prodigious output, in his signature style of warm, subtle shades with trademark texture, was coveted by private and public collectors including HRH The Duke of Edinburgh. He first began exhibiting more than 65 years ago and produced more than 1000 works, three of which hang in the late Duke’s collection of Scottish paintings at the Palace of Holyrood House. Many of his paintings are based on Scotland’s east coast, perhaps unsurprisingly for a man born in Dundee, who trained in Edinburgh and worked in Fife and Aberdeen. He won numerous awards and prizes including The John Laing (London) Prize for Landscape Painting in 1996, 1997 and 1998. Known collections include: HRH The Duke of Edinburgh’s Collection of Scottish Paintings (3 paintings); Royal Scottish Academy, Edinburgh; City Gallery, Edinburgh; Greenock Art Gallery; National Trust for Scotland; University of Aberdeen; Herriot Watt University, Edinburgh; Education Authority of Edinburgh; Education Authority of Dundee; Education Authority of Grampian; Education Authority of Highland; Edinburgh Royal Hospital; IBM. Computers; Low and Bonnar, Dundee; Royal Bank of Scotland, Edinburgh; Royal Bank of Scotland, Dundee; Clydesdale Bank, Glasgow; Scottish Equitable Insurance Company and Grampian Hospitals Art Trust.
Lot 151
Property of a Gentleman Gen Paul ('Eugene Paul') (1895 - 1975) Le Violiniste Mixed media on paper Signed (lowered right) 14/25 Dimensions: (Paper) 16 in. (H) x 12 in. (W) (Frame) 29.5 in. (H) x 24.5 in. (W) Gen Paul, as he was universally known, was one of the most perceptive, challenging, and striking artists to emerge in France after the First World War. Crippled during the war, he turned to art. His work references Goya, Picasso, and sometimes DalÃ. From an edition of 25.
Lot 133
* Mazur (Judith). Onions, coloured pencil, signed in pencil to lower right, 22 x 29.5 cm, framed and glazed, together withBolton (J.M). Spartan, mixed media, signed in pencil to lower left, 15 x 13.5 cm, framed and glazed, withLaurence (I.C). Medicine Bundle, watercolour, signed & dated (1974) in pencil to lower left, 37.5 x 30.5 cm, framed and glazed, with 4 othersQTY: (7)
Lot 428
X GUNDA JASTORFF (German b. 1953-); oil and mixed media on board, 'Samuel's Vision', orange silhouette, signed lower left, dated '95, 70 x 24cm, framed. †Dimensions: 70 x 24cmCondition Report: This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
![*John Maltby [1936-2020] two mixed media wooden half block models of boats one captioned Hero and the other Horatio, one sign](https://cdn.globalauctionplatform.com/14a0dfc2-fb22-4fb8-a977-af3901211caa/af0f6620-01db-4ea7-8f63-afb500c57ff3/468x382.jpg)
![* Osi Audu [b.1955]-Untitled,:-signed and dated '97 bottom rightpencil, graphite and mixed media on paper75 x 56cm," I explor](https://cdn.globalauctionplatform.com/14a0dfc2-fb22-4fb8-a977-af3901211caa/b84017f5-9245-4077-9af3-afb500c59292/468x382.jpg)
Lot 233
* Osi Audu [b.1955]-Untitled,:-signed and dated '97 bottom rightpencil, graphite and mixed media on paper75 x 56cm," I explore the light sheen of graphite, the matte, light-absorbing quality of black pastel, the white of paper and canvas, and the interactions of colour, investigating how all of these optical attributes can be used to create something evocative about the shape of the head. I am interested in the dualism of form and void, the tangible and intangible, something and nothing, light and dark, body and mind, the self in portraits. The title Self-Portrait in my work is about the intangible self rather than a literal portrait of the artist." Osi Audu.Graphite drawings by Audu similar to the present lot are held in public and private art collections across the globe, including the Smithsonian Institution, National Museum of African Art, Washington DC, and the British Museum London.
Lot 52
JUAN GIRALT (Madrid, 1940-2007)."Zorra".Mixed media and collage on paper.With information labels on the back from Metta Gallery (Madrid) and Afinsart (Madrid).Signed in the lower left corner. Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 70 x 50 cm; 83 x 63 cm (frame).Juan Giralt began his artistic career as a self-taught artist in the fifties. In 1959 he had his first individual exhibition in the Galleria Fernando Fe in Madrid, and during that time he spent a brief stay in Holland, coming into contact with the CoBrA group. At this time he began to define a more personal pictorial language. In 1965 he exhibited at the São Paulo Biennial in Brazil and the Venice Biennial at the same time. Winner of a scholarship, he travelled to Paris in 1967, where he began to make various trips that led him to increase his artistic experience. In the same year 1967, he exhibited in Lisbon. After a series of exhibitions in Madrid and Seville, he organised an exhibition in South America in 1980, entitled Linea Espacio y Color en la Pintura Española Actual and a year later he travelled to New York where he lived for two years.From a formal point of view, the artist's research in Madrid has been characterised by the evolution of his aesthetics from the first works which were framed in the informal sector, to the pieces produced in the early seventies, close to a pop scene in which the use of silhouettes with well-defined edges predominated. In the eighties, after experiencing the charm of the New York style, he came into contact with informalism again, deciding to combine the drip technique with the use of collage. In 1997 his works were selected for the important exhibition Art Solidaritat at the Museo Nacional de Historia de Cataluña in Barcelona. Today some of his works belong to the collections of the Centro de Arte Reina Sofía and the Museo de Arte Contemporáneo de Sevilla.
Lot 53
JUAN UGALDE (Bilbao, 1958).Untitled, 1997.Mixed media (gouache, ink and collage) on paper.With label of the Galería Fúcares (Madrid) on the back.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 70 x 50 cm; 81 x 61 cm (frame).It is usual in Ugalde's work of the nineties to combine contradictory languages, dissimilar realities, visual paradoxes, as in this case the meeting of the expressionist brushstroke, the abstract line and the irruption of an apparently discordant figurative element. In this case the artist seems to propose two worlds, an underground one dominated by solitude, shadows and inconcrete spaces, and an exterior one dedicated to leisure, which appears defined with clean forms.Juan Ugalde began his artistic training at the School of Fine Arts in Madrid. In 1986 he moved to New York thanks to a Fullbright scholarship, and there he formed the group Estrujenbank together with his wife, Mariano Lozano and Dionisio Cañas. It was a group of Spanish artists recognised as one of the most important of the late 20th century. Their creative horizons seemed to have no limits, giving rise to performances, videos, as well as the creation of a museum space, the Estrujenbank Exhibition Hall. It was in this space that a new way of understanding art was developed, transmitting it from a different point of view to the institutional and commercial art of the time. Thanks to this artistic activity, Juan Ugalde became known in the mid-eighties with a work that explored the language proposed by abstract expressionism, although nowadays his works present spaces where painting and photography meet. Ugalde's work is represented in different centres of great artistic relevance such as the Centro de Arte Reina Sofía, the Museo Español de Arte Contemporáneo, the Museo de Bellas Artes de Álava, the Patio Herreriano in Valladolid, the Artium in Vitoria, the MUSAC in León, the Coca-Cola, La Caixa, Banesto, ICO and Marcelino Botín Foundations, and in the collection of the Bank of Spain.
Lot 57
"BONIFACIO"; BONIFACIO ALFONSO GÓMEZ FERNÁNDEZ, (San Sebastián, 1934 - 2011).Untitled, 1989.Pencil and mixed media on paper.With label on the back of the Rafael Pérez Hernando Gallery (Madrid).Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 35 x 50 cm; 70 x 54 cm (frame).Bonifacio's aesthetics have always been difficult to classify, somewhere between surrealism and expressionism, his works showed a deformed, dreamlike and personal reality. In this case the work presents a set of forms characteristic of his personal imaginary, a concept taken to the extreme, which becomes another apparently different being as in his famous birds or for example in the figures that decorate the stained glass window of the north nave of the Cathedral of Cuenca, which were designed the same year in which this work was made.Fond of drawing and painting since he was a child, Bonifacio lived a hard childhood in the Casa de Misericordia in his native city, after his father was shot in 1936. As a teenager he was forced to do all kinds of jobs in order to survive, without being able to devote himself fully to his passion for painting. During these years he focused especially on bullfighting, until a goring caused him to abandon bullfighting for good. As for his artistic work, in 1954 Bonifacio received his first award, the First Prize for Painting in San Sebastián, for his work "Cristo cubista", and in 1955 he entered the School of Arts and Crafts in that city, where he finally began his artistic training. Two years later, in 1957, he began to devote himself exclusively to painting. In 1958 he held his first individual exhibition in Guipúzcoa, and that same year he travelled to Paris with Rafael Ruiz Balerdi, where he came into contact with Mompó, Cuixart and Saura, among others. After a period exhibiting at the Ateneo Guipuzcoano and at the Aranaz Darrás gallery, in 1966 he finally achieved commercial success at the Grises gallery in Bilbao, the gallery where the artists of El Paso used to exhibit. Around this time he met Fernando Zóbel, who bought several paintings from him for the Museum of Abstract Art in Cuenca and encouraged him to move to that city. In this city he came into contact with the Spanish avant-garde, establishing relationships with prominent artists such as Saura, José Guerrero and Zóbel, with whom he worked and held exhibitions. He was therefore very close to the Cuenca Group, although his work moved away from the latter's aesthetic formalism from the outset to take a personal path with expressionist traits, closer to international avant-garde movements such as the CoBrA group or Willem de Kooning. It was around this time that we can already see in his painting the forceful line that was to mark his language, with broken, decomposed or unfinished figures, combined with a fluid and dynamic colour, based on stains. From then on he became known both in Spain and abroad. Bonifacio was part of the group of artists associated with the Juana Mordó gallery, which presented him at the Basel and Cologne fairs. His definitive consecration would come in the seventies and eighties. Praised by Jorge Oteiza, Bonifacio received awards such as the Premio Nacional de Grabado in 1993 and the Premio de las Artes de la Comunidad de Madrid in 2005. In 2007, the Círculo de Bellas Artes in Madrid dedicated an extensive retrospective to him, accompanied by the documentary "La cicatriz de la pintura". Bonifacio is currently represented in the Museo de Arte Abstracto Español de Cuenca and the Fundación Antonio Pérez, among other collections.
Lot 84
VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Una estrella presa más que dos lunas", 1990.Mixed media on paper.Signed in the lower central area. Signed, dated and titled on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 37 x 27 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.
Lot 88
20th century Spanish school.Untitled, 1989.Mixed media on paper.It has a frame with important deteriorations.Signed Anselmo and dated on the lower right.Provenance: private collection conceived since the 70s between London and Madrid.Size: 12 x 16 cm; 24 x 29 cm (frame).In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an 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 are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the frontiers of the purely pictorial.
Lot 12
MANUEL ÁNGELES ORTIZ (Jaén, 1895 - Paris, 1984).Untitled.Mixed media on paper.Signed in the lower left corner.Presents a dry stamp in the lower left corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 61 x 44 cm; 87 x 72 cm (frame).Representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a group exhibition, receiving very good reviews in the local press. At the same time, he began to produce drawings for various publications. In the early 1920s, following the death of his wife, the painter moved to Paris. There he painted frenetically, with Picasso as his main supporter and first enthusiast. His painting abandoned cubic forms to focus on fully dreamlike images, which he presented in Paris in his first one-man show, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to take refuge in France once again at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated into the artistic scene and lived until 1948, when he returned to Paris for good. He is currently represented in the Museo Nacional Reina Sofía in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Museo de Arte Contemporáneo in Seville, the Museo de Bellas Artes in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera gallery in Cologne, among other public and private collections.
Lot 49
GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948)."La muerte de formalisme", 1982.Mixed media on paper.Signed and dated in the lower right-hand corner. Titled in the lower area.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 69 x 49 cm; 82 x 63 cm (frame).The eighties were a period of reflection for Gordillo, who intensified his meditation on the nature of painting and the figure of the artist. Stylistically, this is probably the most naturalistic period of his career in terms of representation, and it coincides with the end of a period which he has described as "mannerist".Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.
Lot 50
GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948)."Sisyphus", 1981.Mixed media on paper.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 73 x 103 cm; 84 x 116 cm (frame).In this work we can appreciate Villalta's mastery in portraying architecture. Two different worlds come together to form a whole. The expressiveness of colour coexists with the sobriety and precision of the drawing whose protagonist holds the lunette through which the spectator accesses a world of free chromaticism. The artist plays with perspective, creating a trompe l'oeil where the limits of the work and the frame dialogue with each other, blurring before the spectator. This same resource can be seen in the work, also from 1981, "El políptico largo (Melancolía)", which is in the collection of the Reina Sofía Museum and Art Centre in Madrid.Pérez Villalta was one of the leading representatives of the Nueva Figuración Madrileña. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.
Lot 473
A SMALL QUANTITY OF PAINTINGS AND PRINTS ETC, to include R. Scarff watercolour on paper harbour scene with moored boats, approximate size 19cm x 43cm, Doris Brown watercolour on paper winter landscape with cottage, a 19th century picturesque landscape with cattle at rest, monogrammed bottom right, Hillary Jeffries mixed media study of a figure walking in an abstract woodland, B. Duncan oil on board depicting a pond with ornamental fish and fountain in the form of a cherub, a charcoal sketch depicting figures beside a tree, signature indistinct, together with four prints (10)
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