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

Sheila Fell R.A. (British, 1931-1979)Fields near the Solway signed 'Fell' (lower right)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)Footnotes:ProvenanceSale; Sotheby's, London, 25 June 1980, lot 147Private Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 2 May-26 July 1970, cat.no.575When Sheila Fell exhibited this and five other paintings at the RA Summer Exhibition in 1970 it was a time of continuing artistic success for the 38-year-old painter. The previous year she had been elected an Associate Member of the RA, and her solo exhibition at the Stone Gallery in Newcastle-upon-Tyne had been highly rated by the critics, the correspondent for The Times noting that '...her ability to enlarge and intensify our vision of the northern landscape, as exemplified by her native Cumberland, must surely establish a place for her in the great tradition of English landscape painting' (The Times, 4 June 1969). Fields near the Solway, completed in Fell's London studio, captures very effectively her powerful emotional response to the lowland area of the Solway Plain in West Cumberland where she was born and raised and with which she was so familiar. The low horizon, typical of Fell's work from this period, unites the turbulent sky with the richly painted land, the rounded mass of the haystacks mirroring the grey billowing clouds laden with moisture from the Irish sea. The scene is imbued with a luminous glow and in the centre foreground a solitary figure, dwarfed by the scale of the land in which they work and barely distinguishable from it, obliquely faces the viewer with an air of acceptance, or even defiance, for the unforgiving climate. It was a climate Sheila Fell embraced: 'It's wonderful for a painter – especially when it's cloudy, raining and dark. It's the only place in the world where you can get such wonderful conditions of light and shade – and the only place where I can paint' (Daily Express, 2 June 1969).We are grateful to Professor Andrew Bradley for compiling this catalogue entry. Professor Bradley is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Professor Andrew Bradley, C/O Modern British and Irish Art, Bonhams, 101 New Bond Street, London, W1S 1SR or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Venetian School, c. 1620 Ottoman Honey Merchant Oil on unlined canvas Dimensions:  77 (H) x 103 cm. (L)  (30 3/8 x 40 ½ inches) This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean Baptiste Vanmour (1671-1737) by around 100 years. Vanmour has been considered, until the emergence of this painting, to be the earliest and most refined recorder of Ottoman secular life. In the present painting, the honey merchant sits in his carpeted tent in obvious control of the trade around him. His accountant sits in deference whilst the apiarists and their workers present their straw skeps, or hives. This fascinating scene of everyday life in the Ottoman world, an Empire which included the Eastern Mediterranean and North Africa, illustrates much more than at first glance. Such an early depiction executed in oil on canvas is exceptional. Aside from the two iconic painters Gentile Bellini (active about 1460; died 1507), with his portrait of the Sultan Mehmet II of 1480 in the National Gallery, London and the aforementioned Van Mour, there are scarce western depictions of Ottoman or North African existence.   The artist of Ottoman Honey Merchant was probably Venetian both on stylistic and cultural grounds. The artist seems to be aware of the Bassano family of artists, reflecting their same blocky figures. The book-keeper turned away from the viewer is also familiar stylistically tothe Bassano dynasty. Certainly the strong and particular narrative content suggests therecording of a first-hand experience, although the potential name of this itinerant artist is not currently known.   Venetians were still the largest foreign community in Istanbul during the sixteenth century and remained the Ottomans’ most important international trading partners well into the seventeenth century. This mutually beneficial relationship provided each partner with access to key ports and valuable goods. Though territorial wars intermittently interrupted their relationship, both empires relied on trade for their economic well-being. As a Venetian ambassador expressed, ‘being merchants, we cannot live without them.’  The Ottomans sold wheat, spices, raw silk, cotton and ash (for glass making) to the Venetians, while Venice provided the Ottomans with finished goods such as soap, paper and textiles. The same ships that transported these everyday goods and raw materials also carried luxury objects such as carpets, inlaid metalwork, illustrated manuscripts and glass.    Honey was a highly significant commodity in Ottoman Empire during the period 1200 to 1700.  It was produced in huge quantities in almost every non-arid coastal region, from the Black Sea all the way to modern day Morocco, although it was most abundantly harvested in Attica and Turkey. The honey was used as a sweetener but also as a preservative for fruitsand fresh produce like meat, the wax from the bees was a pleasant-smelling core source of lighting and the honey could also be used medicinally as a natural antiseptic. Unsurprisingly, the Ottoman rulers had their own tax code for honey, with the duty collected being one akcËeor two akcËes from each beehive, depending on the locality and custom. The painting is redolent with period detail:  the merchant sits on a flat weave rug; in front of him is a painted tray (possibly either metal or papier maché) with a brass coffee pot and a white, glazed cup and saucer.  He wears prayer beads on his wrist.  The blue and white tent has been erected close to a town gateway which can bee seen beyond.  The book-keeper wears what appears to be a black burnous with a white hood;  this garment derives from the Berber Nomadic tribes and therefore strongly suggests that the scene could be identified as being North African.  To the right are three black men, almost certainly enslaved (the middle of the three being heavily disguised in a dark hood).  There was an ancient slave trade across the Sahara to the Mediterranean coast and also up the East coast of Africa and the Red Sea As there were restrictions on the enslavement of Muslims, “pagan†areas further to the South became an important source of enslaved people.   Ottoman areas of Anatolia and Attica tended to enslave Christians from the Black Sea and the Balkans, often prisoners of war.  Therefore the existence of the three figures to the right emphasises the likely location of this picture as being North Africa.   A secular painting of such antiquity of any trade is profoundly rare.  But the fact that the trade illustrated is the buying and selling of honey and beeswax is even more enthralling, it being one of the most universal and ancient of foods, sources of light and medicine.  There is evidence of human harvesting of honey from over 8,000 years ago.  And the honeybee itself has become a symbol of the natural health of the planet: bees are vital for the preservation of ecological balance and biodiversity in nature. They provide one of the most recognisable ecosystem services, that being pollination, which makes production of food possible. By doing so, bees protect and maintain ecosystems as well as animal and plant species, and contribute to genetic and biotic diversity.  Bees also act as indicators of the state of the environment. Their presence, absence or quantity tells us when something is happening with the environment and when appropriate action is needed. Therefore, this painting is a uniquely complex and layered object, addressing the history of art, trade, culture, race, dress, custom, food and natural sciences.

Gill, Eric (1882-1940) 2 autograph cards, 1 autograph letter and 1 wood-engraving Autograph card signed to Mr Wilfrid Partington [of The Bookman's Journal], discussing who Gill could suggest to write an article on his wood engravings. 'Really, it is v. difficult to say. Lots of kind people buy them but who could write about them ? & why shd. anyone want to ?' Gill goes on to suggest M. l'abbé Desmond Chute in Rapallo and Geoffrey Keynes 'the former, a v. good artist himself, would have the more intimate view', 2, 5. [19]25; further autograph card initialled, acknowledging receipt of The Bookman's Journal;Autograph letter signed to Mr Partington, stating that he has left Wales for Pigotts and saying he encloses a map for his guidance, 11th October 2029;Wood-engraved map of Pigotts, North Dean, High Wycombe, Bucks., by Eric Gill, 11.5 x 8.2cm;Autograph letter signed from Mary Gill to Mr Partington, saying that she remembers the little carving but has no idea who bought it and that she has very little of his work as he usually did work to order 'but I think he found a joy in most of the work he did', 2nd Feb. 1944;and 1 other item (Eric Gill, 'The Enormities of Modern Religious Art', offprint from The Month, 1928)Note: Provenance: Property of an English collector.

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

Framed gallery poster Pablo Picasso, the Museum of Modern Art, featuring his Seated Bather from 1930. Poster dated 1999. Overall 79 x 61cm approx, framed and glazed. (B.P. 21% + VAT)

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Pyrenean Nocturne", 1980-83.Oil on canvas.Titled and dated on the back.With the label of the Galeria Dau al Set on the back (with faults).This work was in the exhibition held at the Galeria Dau al Set entitled "Joan Ponç Precursor 1946-47-48" between October and November 1983, in commemoration of the tenth anniversary of the gallery.Measurements: 89 x 147 cm; 92.5 x 150 cm (frame).In this canvas, which belongs to Joan Ponç's last creative period (1980s), the personal symbolism with which the singular artist gave birth, from the early 1940s, to a world of his own inhabited by phantasmagorical visions and imaginary beings of a visual impact as unique as it is disturbing, is fully developed. After a long stay in Brazil, the decade of the 1980s was marked by growing vision problems, which, far from intimidating him, brought syncretism and intensity to his work, addressing in it his rebelliousness and obsessive fear of illness and death. In this case, and with that particular style of his, which is halfway between a certain primitivism and the second pictorial avant-garde, Ponç offers us a nocturnal scenography in which he constructs an apotheosic and almost apocalyptic vision of his universe, full of diabolical, tortured and premonitory beings through which Ponç explored the darkest areas of the human being, which, as in this case, are intimately related to his situation, which is ever closer to death.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. He held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which marked his definitive consolidation on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972).

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983).Untitled. 1972.Wax on paper.The support, paper, is the cover of a copy of "Tapís de Tarragona" (limited edition).Signed and dated in the lower right-hand corner.Certificate of authenticity ADOM enclosed.Measurements: 29,5 x 22 cm; 66 x 57 cm (frame).Original drawing by Miró, made with crayons. The degree of abstraction of the lines with which Miró represents the human figures here is genuinely Miróian: the arches ending in circles that symbolise eyes, the chromatic symbolism (blue, black, yellow, red), the concentric circles as a metaphor of eternal return of the cycles of renovation and fertility... take us back to a long path of conceptual and formal search that began with the Romanesque frescoes, that is, with the mystical eye and spiritual schematism.In 1966, Maria Dolors Miró, Joan Miró's daughter, was involved in a serious accident when her car was hit. Maria Dolors was treated in Tarragona, and in gratitude for the care she received, Joan Miró presented the city's Red Cross with a work, the Tapís de Tarragona, which he made in collaboration with the artist Josep Royo. This work is in the Museu d'Art Modern de Tarragona. In 1972, the book "Tapís de Tarragona" was published in a limited edition, with ten lithographs by Miró, and texts by Rafael Orozco, Maria Luisa Borrás and Josep Royo. A total of 1100 copies were printed. Of these, 100 copies were printed on Sala Gaspar watermarked paper, signed in pencil by the artist, and 1,000 copies on Sarrió paper. It is catalogued in "Miró's illustrated books", Patrick Cramer, Publisher. Geneva.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

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

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.

JESÚS RAFAEL SOTO (Venezuela, 1923 - France, 2005).Untitled, ca. 1992, from the Suite Olympic Centennial.Silkscreen on Vélin d'Arches paper, copy 110/250.Signed and dated in pencil in the lower right corner.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.A Venezuelan artist trained at the Escuela de Arte de Caracas, Jesús Soto was an outstanding representative of kinetic art, which he began and developed in the late 1950s. Between the seventies and the nineties, already fully established internationally, he held important exhibitions in places such as the MOMA and the Guggenheim in New York, the Centre Georges Pompidou in Paris, etc. He also took part in the Venice Biennale in 1966 and the São Paulo Biennale in 1996. Particularly famous for his penetrable sculptures, he also carried out projects such as the decoration of the main hall of the Teatro Teresa Carreño in Caracas. Soto was awarded the Premio Nacional de Artes Plásticas de Venezuela, and in 1973 the Venezuelan government inaugurated a museum in his honour in his native Ciudad Bolívar. He is currently represented in important collections such as the Guggenheim Museum in New York.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial trends, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov which concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Untitled", 1973.Oil on card.Signed and dated in the lower corner.Enclosed certificate of authenticity issued by Esther Romero Fajardo.Measurements: 33 x 24,5 cm; 52 x 42 cm (frame).Painter, sculptor, engraver and writer, his training was basically self-taught. When he was eighteen years old he had his first individual exhibition in the gallery N'Art 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.

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

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

ROBERT COMBAS (Lyon, 1957).Untitled, 1992, from the Suite Olympic Centennial.Lithograph on 270 grams Vélin d'Arches paper, copy 110/250.Signed, dated and numbered in pencil.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.A French painter and sculptor, Robert Combas trained at the Ecole des Beaux-Arts in the town of Sete, in south-eastern France, and held his first solo exhibition in 1980. He is considered to be the co-founding father of free figuration, a movement that began in Paris in 1980 as a reaction to the minimalism and conceptual art that were becoming established in the French capital at the time. Free figuration, "a painting that does not deny its primitive instincts or its desire for culture" according to Combas himself, has its roots in Fauvism and Expressionism and establishes a connecting thread with the Neo-Expressionist movement and graffiti art. Combas's works therefore become a critique of society in general, through an intense style based on the use of powerful, vivid and passionate colours that leave no centimetre of the canvas free, outlining the figures he depicts in black.The Olympic Suite is made up of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

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

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

BENGT LINDSTRÖM (Sweden, 1925 - 2008).Untitled, 1992.Lithograph on 270 gr Velin d'Arches paper, copy 110/250.Signed and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots from numbers 35245230 to 35245280.Measurements: 90 x 63 cm.Bengt Lindström trained in Stockholm with I. Grünewald, at the Academy of Fine Arts in Copenhagen and at the Art Institute of Chicago. In 1947 he settled in Paris, where he completed his studies with A. Lothe and F. Léger, as well as experimenting with a wide variety of procedures and techniques. Recognised from the 1950s onwards, Lindström held solo exhibitions in cities such as Paris, London, Brussels, Cincinnati and Tokyo. Most of his work is currently held by the Krimaro Foundation, as well as the Museo Reina Sofía in Madrid, the Carnegie Institute, the Centre Pompidou in Paris and the Tate Gallery in London, among many others.The Olympic Suite is composed of 50 lithographs and silkscreen prints chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial trends, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov which concentrates on the human figure, intensely expressive and treated through forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

"Ben", BEN VAUTIER (Naples, 1935)."Life is competition", 1992, from the Olympic Centennial Suite.Silkscreen on 270 gsm Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Size: 63 x 90 cm.Benjamin Vautier was not only a visual artist, but also a public agitator and art critic, interested in social demands and multiculturalism. For him, all art must mean a shock, produce an intense emotion or reaction, and be novel. Although he was born in Naples, he spent his childhood in Naples, Turkey, Egypt, Greece and Italy. In 1949 he moved to Nice, where he spent much of his career. His contact in Nice with artists such as Fontan, Malaval, Klein and Arman was fundamental in shaping his style. In the 1960s he travelled to New York where he took part in the actions of the Fluxus group. His work was also imbued with conceptualism and minimalism, essential in his conception of art, which for him was not a purpose but a vehicle, a form of communication.The Olympic Suite consists of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen are defined by diverse movements and pictorial currents, from the conceptualism and minimalism of "Ben" Vautier, the lyrical abstraction of Yasse Tabuchi, the painting of Oleg Tselkov who concentrates on the human figure, intensely expressive and treated with forceful forms and intense colours that seek to reflect the conflicts and violence of his time, and finally the work of André Arabis, clearly abstract and geometric.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Fundació Joan Miró", 1975.Lithograph, copy 21/99. Avant la Lettre print run.Signed and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo. 1972-1975", Vol. V, Maeght Editeur, p. 140, ref. 1031.Size: 70 x 50 cm; 87 x 67 cm (frame).Joan Miró was one of the great international figures of 20th century art. He trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the art promoter Joan Prats. Thus, from his formative years he was in direct contact with the most avant-garde circles in Barcelona, and as early as 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These were the crucial years of his artistic career, during which Miró discovered his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of Surrealism, was grouped. Thus, under the influence of the Surrealist poets and painters, with whom he shared many of their theoretical approaches, his style matured; he tried to transpose Surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the 1930s onwards Miró established himself as one of the leading figures on the international art scene and one of the key artists of the 20th century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures and the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon returned to painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, from 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York devoted a retrospective exhibition to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington and the MNAM in Paris.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Geometric Metaphysics B-11", 1969-1970.Oil on canvas.Signed on the back.Label of the Joan Prats gallery, Barcelona, on the back.This work is published in the artist's online catalogue, ref. 1123.Size: 75 x 75 cm; 79 x 79 cm (frame).This painting belongs to a specific series by Joan Ponç, produced between 1969 and 1970, characterised by being practically his only incursion into abstraction, expressing himself through a minimum of formal and chromatic resources, based on geometric figures and their shadows, with which he composes metaphysical landscapes.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to mark his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies at the bottom of his own being. It is a world inhabited by strange creatures with half-human, half-animal bodies, by demons who make us participants in their actions, by deserted spaces in which symmetrical mounds, craters in a line, Stygian lagoons under dark skies broken only by the glow of coloured moons stand out. He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

Albert Samain. Aux flancs du vase. Ouvrage orné de Composition exécutées et gravées par Gaston La Touche. Mit einer Originalzeichnung, und 25 Farbradierungen und Buchschmuck von Gaston La Touche. Paris, Imprimé por la Société du Livre d'Art, 1906. 3 Bll., 112 S., 1 Bl. 4° Grüner Maroquineinband in Chemise und Schuber mit reicher Jugendstilvergoldung, Steh- und Innenkantenvergoldung, aufgesetzten Bünden und goldenen Rückentitel. Innenspiegel in grünem Glattleder und karierten Muster mit goldgeprägten Punkten. G. Auduchon-Blin. Monod 10110. - Eins von 75 Exemplaren "aux Membres" hier aber mit einer Originalzeichnung von Gaston La Touche. - Albert Victor Samain (1858-1900) war ein französischer Lyriker und Vertreter des Symbolismus. Die schönen meist symbolistischen Farbradierungen im kraftvollen Kolorit. - Carteret IV, 356: "Jolie édition trés cotée." Druck auf festem Papier von Renouard. Prachtvolles Exemplar in einem modernen Jugendstil-Einband. - Insgesamt wohlerhalten und sauber. With one original drawing, and 25 colour etchings and book decoration by Gaston La Touche. Green morocco binding with rich Art Nouveau gilt, standing and inner edge gilt, applied frets and gilt spine titles. Interior in green smooth leather and chequered design with gilt dots. G. Auduchon-Blin. One of 75 copies "aux Membres" here with an original drawing by Gaston La Touche. - Albert Victor Samain (1858-1900) was a French lyricist and representative of Symbolism. The beautiful mostly symbolistic colour etchings in a powerful colouring. - Carteret IV, 356: "Jolie édition trés cotée." Print on strong paper by Renouard. Splendid copy in a modern art nouveau binding. - Overall well preserved and clean.

Fotografie - - Bernd u. Hilla Becher. Anonyme Skulpturen. Eine Typologie technischer Bauten. Mit 194 ganzseitigen photographischen Abbildungen. Düsseldorf, Art-Press, 1970. 108 nn. Bll. 4°. Blaue OLwd. mit DTitel in ill. OUmschlag (minimal berieben, sehr gut erhalten). Erste Ausgabe. Parr/Badger II, 266. Heidtmann 11816. - Mit dreisprachigem Text in Deutsch, Englisch und Französisch. - Erste Veröffentlichung des international renommierten Photographen-Duos und eine der wichtigsten Publikationen der modernen Photographie. Mit Aufnahmen von Kalk- und Hochöfen, Kühl-, Förder- und Wassertürmen sowie Gasbehältern und Silos, die die beiden Künstler zu Ikonen der Industriphotographie machten."Anonyme Skulpturen, though it hardly neglects the informational importance of their practice, seems much more about making an aesthetic statement and establishing the artists' position in late twentieth-century art. All their books are polemical, but this represents their primary artistic credo. For those who are more interested in the Bechers as artists than as industrial archaeologists, this is the one to have on one's shelf." (Parr/Badger). - In den Rändern minimal gebräunt. Sehr gutes Exemplar. Photography - With 194 full-page photographic illustrations. Blue orig. cloth with cover title in ill. orig. wrappers (minimally rubbed, very well preserved). - First edition. - With trilingual text in German, English and French. - First publication of the internationally renowned photographer duo and one of the most important publications of modern photography. With photographs of lime and blast furnaces, cooling, conveyor and water towers, as well as gas tanks and silos, which made the two artists icons of industrial photography. - Minimally browned in the margins. Very good copy.

All world: 12 albums, A-Z, both 'Simplex' and 'Tower full of mostly mint/used definitives. and commemoratives. Much modern, yet some good earlier Queen Victorian - King George VI period amongst it. Countries/states including Australia, Canada, Ceylon, China, Germany, Ireland, Korea, Russia, Romania and U.S.A. Much thematic including sports, animals, flowers, birds, aviation and art. Thousands in this two box collection (2 boxes)

ART DECO & LATER CABINET & TABLEWARE to include cheese dish and cover, Masons cups and saucers, Midwinter modern bowl 'Savannah' by Jessie Tait, Welsh Lady tea party goods, ETC

A mixed collection of art related books to include Augustus John by Michael Holroyd, in two volumes, Modern Masters Of Etching - James McNeill Whistler (second volume), Leaves Of Grass by Walt Whitman illustrated by Margaret Cook (16)

The Unveiling from 1924, rotogravure published in 1929. The monogram of the artist is visible at the bottom left of the middle part, w.a.v.k: Willem Adriaan van Konijnenburg. The original work is in the possession of Drents Museum Assen. The drawing was commissioned by C.J.A. van Lede, brother of Pauline de Bruijn-van Lede, who commissioned the Stations of the Cross by Jan Toorop in the church of St. Bernulphus in Oosterbeek. She gave Willem van Konijnenburg a major commission for the Dominican Church in Zwolle: The Triumph of Thomas van Aquino. The rotogravure was published in 1929 by the firm Vorst en Tas from Amsterdam, which also published a lot of work by Jan Toorop. Two more pedants belong to the triptych: Farm and Motherhood, but they are not included. These are also published by Vorst en Tas. The original Hoeve and Motherhood are privately owned. In the interwar period Willem van Konijnenburg, Jan Toorop and Jan Sluijters formed the vanguard of modern Dutch art, work is 79x94 cm

EIKELBOOM BOB (1991), unsig. 3 unique circular pieces "Winegum Series" 2013, Car Lacquer paint on wood, diameter 44 cm. Bob Eikelboom studied at Royal Academy of Arts, The Hague (2008-2012) and Royal College of Art, London (2015-2017). In 2014 he won the Dutch Royal Award for Modern Painting. His work is exhibited at Dordrechts Museum and at the Bonnefantenmuseum, Maastricht. His work is part of several leading (company)collectionsEIKELBOOM BOB (1991), ongesig. lot van 3 unieke cirkelvormige werken getiteld 'winegum series', autolak op hout, diameter 44 cm. Herkomst: Bedrijfscollectie LeasePlan Corporation. Bob Eikelboom studeerde aan de KABK te Den Haag (2008-2012) en vervolgens aan the Royal College of Art, Londen (2015-2017). In 2014 won hij de prestigieuze Nederlandse Koninklijke Prijs voor moderne Schilderkunst. Zijn werk is o.a. tentoongesteld in het Dordrechts Museum en het Bonnefantenmuseum en is opgenomen in meerdere vooraanstaande (bedrijfs)collecties.

Jasper Johns offset lithograph The museum of modern art, New York 73 cm x 100 cm size including frame

SEVEN MODERN SILVER EASEL BACK PHOTOGRAPH FRAMES, comprising four matching frames of rectangular form, three inner dimensions 12.3cm x 8.5cm and one 16.9cm x 12cm, makers Carr's of Sheffield Ltd, Sheffield 1994 and 1996, a rectangular frame with foliate embossed decoration inner dimensions 13,7cm x 9.7cm and two other smaller frames, one with Art Nouveau style decoration, makers David Richards & Sons, Birmingham 1995 (7) (Condition report: all seven are in good useable condition, some pooling of silver polish in the recesses)

Two modern art deco style lamp base and shades. Height of tallest 56cm

Two modern art deco table lamps. Height of tallest 51cm

Glider Regiment collection to include :  A. Eric Hailstones of 10 Craiglockhart Gardens, Edinburgh: City of Edinburgh Wing Air Training Corps (Membership Card for Cadet Hailstones (1763025). 2 ID tags (round brown tag and 8 sided khaki tag) with numbers for A Hailstones, A. and also for Calder, A. (903218) attached to a modern small metal figurine of ‘The Glider Pilot 1944’ ‘Royal Hampshire Fine Art Sculpture’. Modern maroon beret, and jacket with old glider badges sewn on, British Legion membership for 2007. Also Pilot’s Notes for Horsa I Glider with Certification details on back inside cover dated 1944, photo album of pictures taken in Belgium and Germany in 1944-45, set of 3 glider pictures, German astronomical chart “Drehbare Sternkarte ‘Zodiak’ System von Joachim Schultz, Gliding Quarterly vol.4 Issues 1-4, and issues from The Eagle 2003-2007. Also, 2 books: Seth, R. (1955). Lion with Blue Wings: The story of the glider pilot regiment 1942-1945. London: Victor Gollancz Ltd. Also:  Smith, C. (1992). The History of the Glider Pilot Regiment. London: Leo Cooper.

Modern art picture signed set in fitted framing.

Frances Bildner Corporate Abstract British Artist - A contemporary modern art acrylic on canvas abstract expressionists painting entitled ' Mini Forest II '. Uses of broad strokes in dark tones creating this piece. Signed and titled to the verso. Measures approx; 660mm x 560mm.  Frances Bildner is a professional painter who has exhibited widely in both Europe and the United States. She is also the founder of Creative Wiz Kids. It is a children's playgroup that she started in New York City in 1990 and is now based in London. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .

Frances Bildner Corporate Abstract British Artist - A contemporary three part modern art acrylic on canvas abstract expressionists painting entitled ' NYC Central Park '. Uses of broad strokes in dark tones creating this piece across three canvases. Signed and titled to the verso of each. Each canvas measures approx; 910mm x 610mm (together 910mm x 1830mm).  Frances Bildner is a professional painter who has exhibited widely in both Europe and the United States. She is also the founder of Creative Wiz Kids. It is a children's playgroup that she started in New York City in 1990 and is now based in London. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .

Bryan Rawlings - A pair of contemporary modern art & design sculptural monochrome noses. One in white and one in teal. Measures approx; 9cm tall. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .