JOSÉ HERNÁNDEZ MUÑOZ (Tangiers, Morocco, 1944 - Málaga, 2013)."Boundary Nature I", 1987.Oil on canvas.Presents label of the Biosca Gallery (Madrid).Signed and dated in the lower right corner.Size: 38 x 46 cm.In the eighties, the work of José Hernández undergoes a formal purification. He abandoned the fantastic characters with which he became known and explored the plasticity of metaphysical natures full of enigma. This work is an example of this evolution.José Hernández is one of the great references of contemporary Spanish art. His work is one of the most personal and brilliant contributions to fantastic art in recent decades, both as a painter and draughtsman, illustrating the works of Buñuel, James Joyce, Rimbaud, Gustavo Adolfo Bécquer and Akutagawa, as well as designing scenery and costumes for works by García Lorca, Calderón de la Barca, Cervantes, Francisco Nieva and Carlos Saura. His first individual exhibition took place in Tangiers in 1962, and two years later he showed his work again at the Edurne gallery in Madrid. From 1966 onwards he held personal exhibitions and took part in international fairs both in Spain and in Paris, Brussels and Tokyo, among other cities. His intense creative work extends over five decades, making up one of the most outstanding careers, not only in the Spanish art scene, but also in the world, given his significant international projection. Throughout his career he has received awards for his work in painting, drawing, engraving and scenography in Spain, Germany, Poland, Bulgaria, Italy, Norway and Yugoslavia, with special mention for the National Prize for Plastic Arts (Madrid, 1981), the International Biella per L'Incisione (Italy), and the Medals of Honour of the International Exhibition of Modern Ex Libris in Malbork (Poland) and the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. His work is represented in numerous public collections and museums in Spain, Germany, the United States, Finland, Luxembourg, Chile, Poland, Norway, Bulgaria, Mexico, France and Italy.
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CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Embarcadero".Oil on canvas.Signed in the lower right corner.Measurements: 73 x 92 cm; 91 x 109 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris three times thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
AURELIO ARTETA Y ERRASTI (Bilbao, 1879 - Mexico, 1940)."Personaje".Mixed media on paper.Signed in the lower right corner.Size: 24 x 21 cm; 41 x 39 cm (frame).This drawing is a magnificent example of the important role that Aurelio Arteta played in the Basque pictorial renovation in the first third of the 20th century. With a style that fuses classicism and modernity (the classical base learned in Italy can be appreciated, with the cubist forms influenced by Vázquez Díaz), the drawing in question is a tribute to the rural world and Basque industry.Aurelio Arteta began his studies at the Bilbao School of Arts and Crafts, and later extended them at the San Fernando Royal Academy of Fine Arts. In 1902 he obtained a scholarship that enabled him to travel to Paris, where he completed his training. Later he also visited Italy. He was a founder of the Association of Basque Artists, and carried out important commissions such as the frescoes of the Banco de Bilbao in Madrid. In 1924 he was appointed the first director of the recently created Bilbao Museum of Modern Art, and six years later he was awarded the National Painting Prize. He was also awarded the first medal at the National Exhibition of Fine Arts in 1932. He is currently represented in the Fine Arts Museums of Bilbao and Álava, the San Telmo Museum in San Sebastián and in numerous private collections.
ANTONIO GUIJARRO GUTIERREZ (Villarrubia de los Ojos, Ciudad Real, 1923 - Madrid,2011)."Woman and trap to catch birds".Oil on canvas.It has a small perforation in the central part of the canvas.It has damage in the frame.Signed on the back and titled on the frame.Measurements: 100 x 81 cm; 123 x 104 cm (frame).Antonio Guijarro began his artistic studies in Valencia, in the School of Fine Arts of San Carlos, in 1942. Two years later he moved to Madrid and continued his training at the San Fernando School. He made his individual debut in 1951, at the Biosca gallery in Madrid, and that same year he took part in the Salón de los Once. Since then he has held personal exhibitions in Spain, Sweden, the USA, Portugal and Norway. His awards include the National Painting Prize (1954), the First Medal at the National Fine Arts Competition in Barcelona (1957), the Juan March Foundation Scholarship (1958) and the Bronze Medal at the Alexandria Biennial (1968), among others. He is represented in leading collections all over the world, such as the Reina Sofía Museum in Madrid, the Modern Art Museums in Cairo, Lisbon and Venice, the Collector Gallery in Miami, the Irosuke Batanuki in Kobe (Japan) and the International Graphic Society in New York.
Silk Cigarette Card Issues, various examples, contained in modern photograph sleeves, postcard size examples, Godfrey Phillips BDV Great War Leaders and Celebrities (22), Old Masters (10), Flags (28) includes two Flags of the Allies, Regimental Colours (7), Beauties (1), Irish Patriots (2), various medium size and K size issues, Godfrey Philips BDV and others, National Flags, Colonial flags, Regimental Emblems, Clan Tartans, Pilot & Signal Flags, Great War Leaders & Celebrities, Arms of Countries, Ceramic Art (90), F-VG, (160+)
BOOKS, one box containing seventeen titles on the subjects of Medicine, Chemistry and Physics to include two volumes of Pharmacologia; Comprehending The Art of Prescribing Upon Fixed And Scientific Principals by J.M. Paris M.D. F.R.S. F.L.S, 5th Edition, published 1822, The First Principals of Chemistry by William Nicholson, 3rd Edition, published 1796, Hand-Book Of Chemistry by F.A. Abel and C.L. Bloxham, 2nd Edition, published 1858, British Pharmacopceia, published Under the Direction of The General Council of Medical, Education and Registration of the United Kingdom Pursuant to The Medical Act 1858, published 1864, A Guide to the Scientific of Things Familiar by The Rev. DR. Brewer, published 1871 together with other Antiquarian titles and later modern works (1 box + loose)
A Tale Of Two Cities, By Charles Dickens, With Illustrations By H. K. Browne, London: Chapman And Hall, 193, Piccadilly; And At The Office Of All The Year Round, 11, Wellington Street North, MDCCCLIX [1859], first edition, first issue in book form, exquisite binding by Marius Michel, 8 Vo., with tooled blue best French crushed levant, five raised bands, six compartments with gilt lettering and gilt devices on the spine, “1859” in gilt at the heel of the spine, triple gilt-ruled borders and gilt devices with a gilt- ruled design inside the triple gilt borders; silk doublures within the gilt-ruled borders on the front paste-down, with the binder’s name in gilt at the bottom; the original marbled endpapers are bound in just after the front free paste-down and just before the silk doublures in the rear, all edges gilt, with the original red boards and spine used to create the custom slipcase here. The list of plates include the illustrated frontispiece, the vignette title page, and fourteen other plates as called for, and all the points of issue called for by Eckel and Walter Smith are present to make this a first edition, first issue: page 213 is misnumbered “113”; “affectionately” is misspelled “affetcionately” on page 134, line 12; signature “b” is at the bottom of the list of plates; the letters “lf” in “himself” are lacking on page 166, five lines from the bottom; page vii in the Contents says Chapter VII of Book the Second is titled “Monsieur the Marquis in Town”, while it reads “Monseigneur in Town” in the text, and page vii in the Contents for Chapter VIII of Book the Second says “Monsieur the Marquis in the Country”, while the text reads “Monseigneur in the Country”; page ix entry 8 in the List of Plates reads “Stryver”, but it is spelled “Striver” in the caption below the illustration on page 94; there appears to be a comma rather than a period after the chapter number on page 98; and page 238, line 14 has triple quotation marks after the exclamation point (Smith page 98); the publisher’s catalogue is lacking, and the captions under the plates are printed in fine lines, which means they are easy to read and come from the early plates - if the captions are difficult to read, that means the plates have worn down and the captions come from later printings (Eckel page 87). The book edition was bound in a vivid red cloth, and the binder Marius Michel used the original red boards here to form the slipcase; his full name was Henri Marius Michel (1846 - 1925) and he was considered the best book binder of his generation, as well as the founder of modern French bookbinding; his bindings are considered works of art, and books bound by him bring high prices. When a book is bound elaborately, the binder will sometimes use leather to cover the interiors of the book’s boards, often with “swoon-inducing” designs; the leather takes the place of paper and these interiors are called doublures; in some cases, the term is used with materials such as decorated silk. The book has 254 pages and measures 8 15/16 x 6 in. wide, and the slipcase measures 9 1/4 x 5 3/4 in. wide; light foxing on a couple of plates, the slipcase has rubbing on the top and bottom and faded lettering on the spine, but the rubbing and fading on the slipcase don’t affect the book at all; overall an exquisite copy of A Tale of Two Cities by a premier book binder in Paris, with all the points of issue called for to make this a rare first edition, first issue. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and Walter E. Smith, Charles Dickens In The Original Cloth, A Bibliographical Catalogue Part I, Los Angeles: Heritage Book Shop 1982.
Assorted Early 20th Century and Later Costume Accessories, comprising a pair of emerald green silk heeled shoes with button details and leather linedpale green silk handbag with hand painted floral decoration and copper coloured hinged claspblack suede clutch bag with green turtle adornment, gilt piping, internal attached pursegrey felt cloche hat with modern art deco style hat pinsilver fabric mounted clutch bag with art deco beadwork and internal mirror and pursepair of cream kid leather gloves with green stitching and embroiderymodern black painted hat stand(7)Private Collection of Millinery and CostumeAll items have signs of wearEmerald green shoes - holes and small slits in fabricPale green bag - holes in ribbon handle, lining split and some slight discolouration.Black clutch - slight wear to handle, rubbing, brass mounts a little 'wonky', turtle mount has head reglued.Grey hat - stitching coming away and some 'moth' damage.Cream gloves - small spot marks, and area of wear near the wrist.
Confectionery.- Abbot (Robert) The Housekeeper's valuable present: or, lady's closet companion. Being a new and complete art of preparing confects, according to modern practice, first edition, woodcut floral tail-pieces, some spotting and staining, lightly browned, contemporary sheep, spine gilt, spine with basic repair to head and foot worn, joints split, but holding, some worming to upper cover, small area of red wax to lower cover, corners worn, rubbed, [Cagle 528; Maclean p.1; Oxford p.126; Simon BG 1], 8vo, Printed for the author; and sold by C. Cooke, no. 17, Pater-Noster Row; and all other booksellers in town and country, [c.1790].⁂ Rare at auction. We can trace only a handful of copies since 1969. Institutional holdings are also scarce. The title tells us that Abbot had been an apprentice at the leading confectioners Negri & Gunter, of Berkeley Square.
Confectionery.- Nutt (Frederick) The Complete Confectioner: or, the Whole Art of Confectionary Made Easy: also Receipts for Home-Made Wines, Cordials, French and Italian Liqueurs, &c., seventh edition, half-title, engraved frontispiece and 10 plates, of which 3 folding, 2 publisher's advertisement ff. at end, plate 9 torn and repaired, without loss, stained, some spotting, contemporary diced calf, gilt, sympathetically rebacked, spine in compartments and with double leather labels, head of spine chipped, upper cover detached, corners worn, rubbed, [Bitting p.347 (note); Simon BG 1109; cf. Cagle 906-909; Vicaire 634], Printed for Samuel Leigh, 1815 § Jarrin (William Alexis) The Italian confectioner; or complete economy of desserts, according to the most modern and approved practice, new edition, engraved portrait frontispiece and 2 folding plates, 6 full-page bills of fare, endpapers foxed, some spotting or light foxing, occasional staining, contemporary burgundy half straight-grain morocco, spine gilt, spine faded, corners worn, rubbed, [Simon BG 884; cf. Bitting pp.244-245; Cagle 776 & Oxford p.149], E.S. Ebers, 1844; and 17 others, Confectionery & Baking, v.s. (19)
Queens delight (A), or, the art of preserving, conserving, and candying. As also, a right knowledge of making perfumes, and distilling the most excellent waters, title and text within single filet borders, woodcut head-pieces and a decorative initial, occasional spotting or light staining or soiling, lightly browned, modern calf, richly gilt, spine with long red leather label, [Wing Q156B; cf. Bitting p.595; Cagle 838; Notaker 537; Oxford pp.26-27; Simon BG 1239, and Wing M100C (Queens Closet)], 12mo, Printed by J[ohn]. Winter, for Nat[haniel]. Brook, at the Angel in Gresham-Colledge, 1668.⁂ Usually found as part of The Queens Closet Opened, but complete in itself.
![[Borella (Mr.)] The Court and country confectioner: or, The house-keeper's guide ; to a more speedy, plain, and familiar meth](https://cdn.globalauctionplatform.com/ca7c9f1c-1a9e-448b-8b01-af9000fc6e07/6de9de91-37de-444f-947f-af900100095b/468x382.jpg)
[Borella (Mr.)] The Court and country confectioner: or, The house-keeper's guide ; to a more speedy, plain, and familiar method of understanding the whole art of confectionary, pastry, distilling, and the making of fine flavoured English wines, 2 parts in 1, first edition, woodcut head-pieces and decorative initials, lacking final blank, edges of first and last few ff. browned (including title), occasional spotting or light staining, lightly browned elsewhere, modern pale calf, gilt, spine in compartments and with red morocco label, [Bitting p.49; Cagle 572; Maclean pp.10-11; Oxford p.102 'a well-arranged book'; Gabler G13780;cf Simon BG 227], 8vo, Printed for G. Riley, and A. Cooke, at their Circulating Library, Queen Street, Berkley Square; J. Bell, near Exeter-Exchange, in the Strand; J. Wheble, at No. 20. Pater-noster-row; and C. Etherington, at York, 1770.⁂ Rare first edition of this work by the self-styled 'ingenious foreigner, now head confectioner to the Spanish ambassador in England'. The second part is 'On distilling in general'.
Thacker (John) The Art of Cookery. Containing above Six Hundred and Fifty of the most approv'd Receipts, first edition, woodcut illustrations, 32pp. letterpress bills of fare at end, errata slip mounted on final blank, S2 [i.e. S1] piece from upper margin torn away, water-stained, some spotting or mostly light staining, lightly browned, contemporary blind-stamped calf, spine in compartments, spine ends and corners worn, joints splitting, but holding, water-stained, rubbed, [Bitting p.458; Cagle 1019; Maclean pp.140-141; Oxford p.88], 8vo, Newcastle Upon Tyne, Printed by I. Thompson and Company, 1758.⁂ Thacker was cook to the Dean and Chapter of Durham Cathedral and opened a cookery school in the city in 1742. The influence of French cookery is evident in the collection.Provenance: 'Anne Williamson' (later ink signature to head of title); Mary Chadsey (modern bookplate to front pastedown).
Thudichum (John Louis William) The Spirit of cookery. A popular treatise on the history, science, practice, and ethical and medical import of culinary art, half-title, ink ownership inscriptions to front free endpaper, hinges weak, original green pictorial cloth, gilt, rubbed and slightly nicked at extremities, a good copy, [Bitting p.460], F. Warne and Co., 1895 § [Jerrold (William Blanchard)], "Fin-Bec". The Book of Menus. 1876, additional pictorial title, text within red borders, 8pp. advertisements at end, some foxing to titles, occasional spotting, lightly browned, original green pictorial cloth, gilt, a few stains, spine ends little frayed, rubbed, g.e., Grant & Co., 1876 § Hobbs (Samuel) Kitchen oracle of modern culinary art, wood-engraved illustrations, advertisements at end, original brown cloth, gilt, lower corners little worn, little soiled, rubbed, [Bitting p.231], Dean and Son, [1886]; and a small quantity of others, 19th century Cookery, v.s. (Sm.Qty.)
Crahan copy.- Farley (John) The London art of cookery, and housekeeper's complete assistant. On a new plan. Made plain and easy to the Understanding of every Housekeeper, Cook, and Servant in the Kingdom, first edition, engraved portrait frontispiece of the author and 12 bills of fare, some spotting or mostly light staining, lightly browned, new endpapers, contemporary sheep, rebacked in modern pale calf in compartments with double red morocco labels, corners worn, covers rubbed and little marked, [Bitting pp.152-153; Cagle 675; Maclean p.50-52; Oxford p.114; cf. Simon BG 661 and Vicaire 355-356 (eighth edition)], 8vo, Printed for John Fielding, No. 23, Pater-Noster Row; and J. Scatcherd and J. Whitaker, No. 12, Ave Maria Lane, 1783.⁂ Farley was 'principal cook at the London Tavern' (title), which was renowned for its good food, and apparently generous portions. Provenance: 'Wm. Jordan Jun., High Street, Sandwich, 10th Nov.1783' (ink inscription to verso of portrait and head of A1&2); Marcus Crahan, sold Sotheby's 9 & 10th October, 1984, lot 310, and again as the Crahan-Keck Day copy, Sotheby's, 25th November, 1986, lot 192 (Crahan bookplate to front pastedown).
Confectionery.- Francatelli (Charles Elmé) The Royal English and Foreign Confectioner; a practical treatise on the art of confectionary in all its branches, first edition, half-title, chromolithographed frontispiece and 7 plates, 5 wood-engraved plates, full-page bills of fare within text, 18pp. illustrated advertisements at end, a few short tears from careless opening (a few sigs. still partially unopened), occasional spotting or light staining, original brown pictorial cloth, gilt, a few small ink spots, rubbed at extremities, housed in a modern buckram slip-case, [Bitting p.164; Cagle 688 (erroneously calling for 9 chromolithographed plates)], Chapman and Hall, 1862; Francatelli's Cookery Book for the working classes, second edition, wood-engraved frontispiece, advertisements at ends, lightly browned, original printed cloth, some staining, Bosworth and Harrison, [c.1860]; and 5 others, by the same, including a duplicate of first mentioned (not collated), v.s. (7)
Confectionery.- Glasse (Hannah) The Compleat confectioner: or, the whole art of confectionary made plain and easy, first edition, first issue (with Mrs. Ashburner's in imprint), facsimiles of author's signature to end of dedication and at head of first f. of text, some water-staining, spotting or foxing, lightly browned, modern dark green half crushed morocco, gilt spine in compartments, [Bitting p.190 (note); Cagle 707; Maclean pp.61-62; Oxford p.90; Simon BG 774], 8vo, Printed: And Sold at Mrs. Ashburner's China Shop, the Corner of Fleet Ditch...By I. Pottinger, at the Royal Bible, in Pater-Noster Row; and by J. Williams, opposite St. Dunstan's Church, Fleet-Street, [c.1760].⁂ Rare at auction. Before the Crisford copy sold in these rooms in 2022 (23rd June, lot 54), we must go back to the Cetus copy at Bloomsbury Auctions, 22nd September, 2011, lot 148.Provenance: 'Will. Humphreys' (contemporary ink signature to head of spine).
Glasse (Hannah) The Art of cookery, made plain and easy, 'A new edition, with all the modern improvements', large folding letterpress bill of fare, this with repaired tear within text, but without loss, spotting and water-staining / staining, lightly browned, ink signatures of Annie Sandilands, 1837 to title and elsewhere, modern calf-backed green cloth, spine gilt and with black leather label, spine faded, rubbed, [Cagle 704; Maclean pp.59-61; Oxford pp.76-77 (note); Simon 768, Vicaire 413-414], printed for W. Strahan, J. Rivington and sons, L. Davis [& others], 1784; and another, by the same, 8vo (2)
NO RESERVE Glasse (Hannah) The Art of cookery, made plain and easy, facsimile of the first edition of 1747, number 2 of 12 copies specially bound by C.B. Lewis for Janet Clarke, modern blind-tooled calf by C.B. Lewis, spine in compartments and with double red leather labels, Prospect Books, 1983; and a copy in original cloth, small folio (2)
![[Menon.] The Professed cook: or, the modern art of cookery, pastry, and confectionary, made plain and easy, translated &](https://cdn.globalauctionplatform.com/ca7c9f1c-1a9e-448b-8b01-af9000fc6e07/60356fa0-eb55-44c3-828d-af900100775a/468x382.jpg)
[Menon.] The Professed cook: or, the modern art of cookery, pastry, and confectionary, made plain and easy, translated & edited by Bernard Clermont, third edition, lacking blank after p.x, but with blank g2, ink signature to head of title, spotting and staining, lightly browned, modern calf, gilt, by Chris Lewis, of Bath, spine in compartments and with red morocco label, spine uniformly slightly faded, [Bitting p.92 (note); Cagle 606; Maclean p.99; Oxford p.101 (note); Simon BG 355; Roscoe A84], Printed for W. Davis, in Piccadilly; T. Caslon, opposite Stationer's-Hall [& others], 1776; and an 1812 edition of the same, in original cloth (not collated), 8vo (2)
Small books & pocket guides.- The Modern family cook, or, Housekeeper's instructor, containing marketing directions, and upwards of three hundred receipts, stained, lightly browned, original blind-stamped cloth, head of spine and corners worn, rubbed, rare, T. Goode, [c.1850] § Warne's bijou books. Etiquette of the dinner-table: with the art of carving, half-title, chromolithographed frontispiece and additional pictorial title, wood-engraved illustrations, occasional spotting or light foxing, near fine original green pictorial cloth, gilt, Frederick Warne and Co., 1867; and 12 others, similar, v.s. (14)
A burr-walnut veneered Art Deco style four-door cocktail cabinet. 100x171x52cmThis is a modern piece, probably 30-40 years old. It comes in one section. There is veneer loss around the edges, particularly to the base, edges of doors, and is coming away in sheet form from both sides. There is one handle missing. In need of some attention.
VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Monk looking at the sea", 1991.Mixed media on wood.Signed, dated and titled on the back.Size: 106 x 89 x 10 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held 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 devoted 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.
VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Monk in front of the sea", 1993.Mixed media on polychrome wood.Signed, dated and titled on the back.Measurements: 60 x 95 x 3 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held 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 devoted 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.
VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Amen", 1989.Mixed media on panel.Titled in the middle right area. Signed, dated and titled on the back.Measurements: 66 x 104 x 6 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held 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 devoted 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.
VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Family portrait", 1991.Mixed media on canvas.Signed, dated and titled on the back.Size: 116 x 148 x 5 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held 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 devoted 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.
VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Star and piece of sky", 1990.Mixed media on wood.Signed, dated and titled on the back.Size: 128 x 92 x 12 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held 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 devoted 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.
VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Natura Morta".Mixed media on paper adhered to wood.Signed and titled in the lower margin.Size: 110 x 86 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 devoted 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.
JEAN TINGUELY (Switzerland, 1925 -1991).Untitled, 1972.Mixed media on paper.Signed, dated and inscribed.Stains on the passepartout and in the margins of the work.Size: 35 x 25 cm; 48 x 37,5 cm (frame).If anything characterises Jean Tinguely's work on paper, it is movement, chance and the use of everyday materials intuitively dispersed on its surface. Throughout his career as an artist, Jean Tinguely sent hundreds of illustrated messages to his friends and colleagues in the art world. All these missives had one thing in common: they were written wherever the artist was - in his studio, in a museum or a gallery, in his kitchen, in a restaurant or even on the floor of his home. They had all been created in a totally intuitive way, driven by the subconscious and regardless of the place or time of their creation. Tinguley himself nodded: "I draw a lot of things, just as I doodle while talking on the phone. At the same time, I systematically transform these kinds of drawings into messages to my friends, letters and things like that. The Swiss painter and sculptor was, for more than 30 years, a key figure in the European avant-garde movement. He was known for his "sculpture machines" or kinetic art, rooted in the Dada tradition. He applied the term meta-mechanics to his creations. As in the rest of his kinetic works, his purpose was to give the spectator a spectacle of displacement, or at least the illusion of it. Jean Tinguely's mobile works were created to destroy or self-destruct, all in an effort to satirise the overproduction of meaningless goods manufactured by advanced industrial society. After turning to abstract painting, the Swiss artist experimented with movement as a form of expression. His first works, exhibited in Paris, were moved by electric motors. These monumental pieces depicted an ironic universe of useless machines that, it seemed, were producing. "The concept is to show that a work of art is never a definitive object, but that its creative capacities are, in truth, the potential given to it by both the artist and the spectators. He also worked on ready-made works, approaching the New York New Realists and assemblage artists. His production, which touched on all the themes that interested the artists of his generation, earned him an important place in post-war Paris, a leading figure of the stature of Yves Klein. Jean Tinguely is currently represented in the most important museums all over the world, including the Tinguely Museum in Basel, Switzerland, dedicated to the painter's life and work, the Tate Modern in London, the Metropolitan Museum of Art in New York and the Museo Reina Sofía.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled, 1967.Mixed media and collage on wood.Signed and dated in the lower right corner.Measurements: 52 x 52 cm .Painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
ARIEL ELIZONDO LIZARRAGA ( Brussels, Belgium, 1968)."Cubismos & Cuartitas", 2022.Natural quartzite-moscavite stone and corten steel.Signed on the base.Certificate of authenticity of the artist enclosed.Measurements: 33 x 27 x 20 cm.Ariel's life has always been in continuous and intimate contact with natural stone, of which he is a true specialist both in its technical aspects and in its application for various professional uses. For many years he visited quarries all over the world and got to know in depth the natural formations of all types of rocks and stones, as well as the extraction, cutting and finishing processes. This rich working experience also gave him a solid knowledge of steel in a wide variety of forms and applications. During these years, his artistic vocation as a sculptor developed in parallel. In his youth he had the opportunity to study and become well acquainted with the schools of contemporary art in Belgium, but on his return to Navarre, his contact with the rich tradition of the Basque school of sculpture (Chillida, Oteiza, Mendiburu, etc.) spurred a methodical and profound investigation into the integration of both elements in a genuine and original way. Stone serves as a fundamental support, as the essence and base of the whole, whether in live rock or carved, and from it emerges steel in stylised and kinetic forms. Thus a vital dialogue takes place between the two elements: the origin and formation of nature in its primary aspect on the one hand, and on the other hand the personal development which in its lyrical or dramatic variants represents the search for an intensely personal path. The steel, always worked by hand and cold, emerges from the living stone in various forms, whether thin or thick, rusted or polished, natural or laminated in colours, and grows wavy or twisted in aesthetic adventures where stone and steel form a visual and suggestive dance to the point of the dreamlike and ineffable. Everything fits and is freely expressed in this choreography of two complementary materials, without excluding the dramatic sentiment, the heroic cry or the difficult balance of the everyday in human existence. It is an art that is not conceptual but conceptualised in vibrant symbolism and full of expressive tension. It is a modern and current art because it sinks its roots in the primary and ancestral to project itself into that uncertain future that sometimes scares us and always challenges us, an art that with very ethnic elements manages to elevate itself to a universal language.
YAYOI KUSAMA (Matsumoto, Japan, 1929)."Pumpkin red", 2015.Lacquered resin.Stamp on the base.Size: 10 x 7,5 x 7,5 cm.This red pumpkin sculpture depicts the artist's signature optical patterns of brightly coloured polka dots. Kusama first used the gourd design at the 1993 Venice Biennale.Yayoi Kusama is an artist and writer who, throughout her artistic career, has experimented with and developed a wide variety of artistic techniques including painting, collage, sculpture and performance and installations, most of which exhibit her thematic interest in psychedelia. Kusama is a forerunner of the pop art, minimalism and feminist art movements and influenced artists contemporary to her such as Andy Warhol and Claes Oldenburg. Born in Matsumoto (Nagano) to an upper middle-class family of seed merchants, Kusama began to develop an interest in art from an early age, which led her to study Nihonga (Japanese-style paintings) in Kyoto in 1948. Frustrated with this Japanese style, she became interested in American and European avant-garde, mounting several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling in New York City where she produced a series of paintings influenced by Abstract Expressionism. Kusama switched to sculpture and installation as her primary media and became a fixture of the New York avant-garde with her works exhibited alongside Andy Warhol, Claes Oldenburg and George Segal in the early 1960s when the artist became associated with the Pop Art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organised a series of happenings in which nude participants were painted with brightly coloured polka dots. She returned to Japan permanently in 1973, where she has lived ever since in a psychiatric hospital, committed of her own free will. Throughout her career, Kusama has received major awards both in Japan and abroad, including the French Ordre des Arts et des Lettres in 2003 and the Japanese Praemium Imperiale in 2006 in the category of painting. The artist has become particularly well known for her installations with mirrors, red balloons, toys and other objects, in the midst of which she placed herself on stage. Her works of recent years are paintings on cardboard in an ingenuist style. Among the most recent exhibitions devoted to her work is the complete retrospective devoted to her by the M.N.C.A. Reina Sofía, in collaboration with the Tate Modern in London, in 2011, which subsequently travelled to the same Tate, the Centre Georges Pompidou in Paris and the Whitney Museum in New York. Kusama is currently represented at MoMA in New York, the Fukuoka Art Museum, the National Gallery of Modern Art in Tokyo, the Haus der Kunst in Munich, the Art Institute of Chicago and many other museums and art centres around the world.
ANTONI TÀPIES PUIG,(Barcelona, 1923 - 2012).Untitled.Lithograph, copy 80/100.Signed and justified by hand.Size: 95 x 67 cm; 97 x 69 cm (frame).Antoni Tàpies has exhibited all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. His awards include the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the French Grand Prix de Peinture, etc., and anthologies have been dedicated to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. He is represented in the main national and international museums, 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.
TADAO ANDO (Osaka, 1941).Untitled.Graphic work and coloured drawing on paper.Hand signed.Size: 15,5 x 13,5 cm.Tadao Ando is a self-taught architect greatly influenced by the work of Le Corbusier, trained mainly during his travels in the USA, Europe and Africa between 1962 and 1969. During his travels he visited buildings by Mies van der Rohe, Le Corbusier, Frank Lloyd Wright and Louis Kahn, which clearly influenced the forms and materials of his buildings. In 1968 he returned home and founded Tadao Ando Architects & Associates in Osaka. His achievements as an architect include winning the 1995 Pritzker Architecture Prize from the Hyatt Foundation. His early works show an incipient post-modern style, although clearly adapted to Japanese customs. In 1976 he completed his first work, Azuma House. Tadao Ando divided the house into two volumes, one private and the other communal, between which a courtyard was intended for the "play of wind and light". The presence of natural elements in his works would accompany him throughout his career. During the eighties, Tadao Ando leapt onto the international scene as the leading exponent of the new Japanese architecture. From these years we highlight the Rokko Housing development (1983-1993) with his Chapel on Mount Rokko (1986), in these buildings the influence of Le Corbusier on Tadao Ando is evident in the use of concrete as the main material, although the individualised treatment of light gives his works a personal stamp. In 1992 he designed the Japanese Pavilion for Expo'92 in Seville. A large ephemeral wooden structure. The Museum of the Forest of Tombs (1992) is a space full of symbolism in which Tadao Ando abandons straight lines, but not the coldness of concrete. Among Ando's notable works at the turn of the century are the Awaji Yumebutai in Hyogo (1997) and the Modern Art Museum in Fort Worth, Texas (2000). Among his latest works, particularly noteworthy are ambitious projects such as the Poly Theatre in Shanghai, a building consisting of a reinforced concrete box, enveloped by a glazed lattice skin, and perforated by steel tunnels lined with aluminium panels, which have a wood-like finish. A building that preserves the essence of Tadao Ando's work, but developed using more modern techniques.
JEAN-MICHEL BASQUIAT (New York, USA, 1960 - 1988) for DUNNY KIDROBOT.Untitled.Vinyl.With stamped signature of the Estate of Jean-Michel Basquiat and the publisher.Original box enclosed.Measures: 20 x 13,5 x 7 cm.In collaboration with the Estate of Jean-Michel Basquiat, Kidrobot presents Jean-Michel Basquiat Faces Dunny Art Figure focusing mainly on the "faces" of Basquiat's works. Each art figure represents a face or an image from one of the prolific New York artist's most iconic paintings.A prolific artist, Jean-Michel Basquiat began drawing at the age of three, inspired by urban culture through the cars, taxis and buses that roamed the streets, as well as through television and comic books. He captured this view of his surroundings in his paintings throughout his life, especially in the form of vibrant lines, intense strokes, figures cut in black, facial expressions pushed to the limit, and so on. During the early 1980s he began to emerge as an artist, at a time when the reign of conceptual art and aesthetic minimalism in all its forms was predominant. The presence of urban culture and graffiti mixed with the European figurative tradition. His first solo exhibition took place in 1982, at the Annina Nosei Gallery in SoHo, New York. This marked the beginning of a series of solo and group exhibitions that brought together his work with that of other important contemporary artists, such as Julian Schnabel and David Salle. During these years he produced more than two hundred canvases with portraits of influential figures belonging to that culture, including Muhammad Ali and Dizzy Gillespie. It was at this time that his works began to be highly sought after, and logically his presence was in demand at the most exclusive events of the time. It is worth mentioning his close relationship with Andy Warhol, who had a powerful influence on their work. The intensity with which Jean-Michel Basquiat created was mirrored in his life. A fan of drugs and nightlife since his teenage years, his consumption increased to such an extent that he developed a strong addiction to heroin and cocaine, which led to his death in 1988. From his first solo exhibition to the present day, his work has toured the world's most famous museums. His media power, the outrageous auction prices of some of his works and his visual intensity continue to move crowds. The strong influence of his canvases, graffiti and writings on contemporary art explains the enormous interest in his figure. He is currently represented in museums and institutions such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, the Gagosian Gallery, the Museu d'Art Contemporani de Barcelona - MACBA in Barcelona, the Guggenheim Museum of Modern and Contemporary Art in Bilbao, The High Museum of Art in Atlanta, The Modern Art Museum of Fort Worth in Fort Worth, the Castellani Art Museum in Lewiston, the Whitney Museum of American Art in New York, the Broad Contemporary Art Museum in Santa Monica, the Fondation Carmignac in Paris, the Fukuoka Art Museum in Fukuoka, Japan, as well as in numerous private collections, such as that of David Bowie.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Cocks".Oil on canvas.Signed in the lower right corner.It has a wax seal with the signature of the author on the back.Certificate can be issued at the request and expense of the buyer.Measurements: 55 x 46 cm.He returns to Spain in 1949 after his exile. Self-taught, Viola had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "De la Revolución Surrealista al Surrealismo al Servicio de la Revolución" (From the Surrealist Revolution to Surrealism in the Service of the Revolution). However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Abstraction".Oil on canvas.Signed in the lower right corner.It has a wax seal with the signature of the author on the back.Certificate can be issued at the request and expense of the buyer.Measurements: 54 x 45 cm, 70 x 60 cm (frame).He returned to Spain in 1949 after his exile. Self-taught, Viola had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "From the Surrealist Revolution to Surrealism in the Service of the Revolution". However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
MANUEL VIOLA (Zaragoza, 1916 - San Lorenzo de El Escorial, 1987)."Abstraction in yellows and blues".Oil on canvas.Signed in the lower right corner.It has a wax seal with the author's signature on the back.Certificate can be issued at the request and expense of the buyer.Measurements: 60 x 80 cm, 65 x 85 cm (frame).He returned to Spain in 1949 after his exile. Self-taught, Viola had been in contact with many artistic and cultural groups during his youth, in fact his signature is included in the logicofobist manifesto or in the writing, "From the Surrealist Revolution to Surrealism in the Service of the Revolution". However, it was not until 1958 that he began to develop a truly personal style, while at the same time joining the avant-garde pictorial group El Paso, to which Antonio Saura, Rafael Canogar, Luis Feito and Manolo Millares, among others, belonged. He began to express himself through abstract painting with a strong expressionist character and great attention to colour. He definitively left behind the figuration that had prevailed until then in his work. Throughout his life he was awarded numerous prizes, such as the Condado de San Jorge Prize, the Lissones Prize (Milan) and the Gold Medal of the City of Saragossa. He exhibited in the most important galleries in Spain and also abroad, in cities such as Oslo, New York, Venice, São Paulo and Houston. While he was still alive, important retrospective exhibitions of his work were held: in 1965 at the Dirección de Bellas Artes de Madrid, in 1971 at the Museo de Arte Contemporáneo de Madrid, in 1972 at the Lonja de Zaragoza, in 1983 at the Armas Gallery in Miami, and in 1986 in Houston. After his death, anthological exhibitions of his work continued to be held in international galleries and museums. Manuel Viola's work can be seen in the Reina Sofía Museum, the Museum of Modern Art in Cologne, the Museum of Fine Arts in Bilbao, the Guggenheim in New York and Bilbao and the Museum of Spanish Abstract Art in Cuenca, among many others.
A 19th century lidded tin box painted with fruit, 9cm H x 21.5cm W x 13.5cm D, containing a collection of works of art, including a modern carved stone figurine of a mother and daughter 12cm high, a carved Inuit-type figure from British Columbia, three miniatures purses, miniature glassware, painted enamel trays, a mother of pearl ring tree and more. (qty)
An impressive pair of large modern silver and parcel-gilt four-light candelabraGeorge Grant MacDonald, London 1986Each of the circular bases applied with six models of Arabian Oryx, realistically modelled in varying stances with fur effect chasing, on a textured ground, with four upswept curving columns issuing from the centre, polished flat sides and the front of each column applied with a gilt band with fine geometric circular designs, the circular drip-pans and bases with applied gilt bead bands, loaded bases, height 40cm, diameter at base 31cm, weight total 495oz.Footnotes:George Grant Macdonald graduated as a silversmith in 1969 after completing his training at the Central School of Art and the Sir John Cass College in 1969.He established a workshop in Clerkenwell, specifically concentrating on the development of new techniques in texture and finish. Macdonald went on to purchase Gerald Benny's workshop on Bear Lane, Southwark in 1979. His now established London based studio is world-renowned for its high quality designs. He now holds a Royal Warrant from the Prince of Wales for his work.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
An Art Nouveau poster, early 20th century, French, designed by Charles Levy, depicting a showgirl titled 'Carina', colour lithograph, printed by 'Affiches Amerericanes CH Levy, 10 rue Martel, Paris',168 x 59cm, framedCondition Reportwatermarks to base, small modern sticker inside frame - top right - see photograph
Modern Art Deco style rectangular wall mirror, panelled bevelled sections, 212x92cmCondition report:The actual mirror is clear, not misted/ frosted. There is no frame, the bevelled sections are mounted onto batons on the back so that it can be hung. When on the wall it would stand about 2inches proud of the wall. Due to the construction on the back, and the amount of glass, it is quite heavy, probably between 10kg-15kg. No cracks or chips, but some discolouring to the mirror backing creeping in from the sides.
A selection of hardback and other books, primarily relating to art, titles including: The History of Modern Painting, by R. Muther; The Best of Norman Rockwell; The English Masters, by Horace Shipp; Cassell’s Art Treasures; American Sublime: Landscape Painting in the United States, 1820-1880, by Andrew Wilton and Tim Barringer; 20th Century British Marine Painters, by Denys Brook-Hart; and others, one box.
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