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Click here to subscribe§ PABLO PICASSO (SPANISH 1881-1973) JEUNE PEINTRE A SON CHEVALET, FROM LE GÔUT DU BONHEUR - 1970 Etching, E.A., signed and editioned in pencil to marginDimensions:image size 20.5cm x 14.5cm (8in x 5.75in), the sheet 33cm x 25cm (13in x 9.75in)Provenance:Provenance: Éditions Cercle d'Art, Paris - 29 Oct. 1974.The lot is accompanied by a printed card with the gallery stamp verso, which lists the etching from an edition of 100.
Various volumes and 19th century scrap and design books. Including: Wood's, Strange Dwellings, Longman's, 1885, The Best of Beardsley, Ed. R.A. Walker, Spring Books, Picasso Artist of the Century, J. Laymarie, an Art Nouveau edition of loose design plates from Journal de la Decoration, Paris, a scrapbook containing plates after R. Earton with engravings after paintings in the collection of the Duke of Devonshire (pub. 1775-6), another with assorted 19th century prints and a third with Ornements Louis XV et Style Rocaille, pub. A Calavas, Paris
Quantity of unframed exhibition posters to include The Fitzwillam Museum 'Vermeer's Woman Secrets & Silence', 5th October - 15 January 2012, Musèe d'Orsay Paris 'Auguste Renoir' and 'Vincent Van Gogh', Museo Nacional Centro de Arte Reina Sofia, Madrid 'Picasso, etc, 98cm x 68cm high and smaller
Gordon Banks (1937-2019)A signed photographic poster of the former England 1966 Football World Cup goalkeeper, dressed in yellow England shirt, 48 cm x 25 cm, framed & glazed; together with Tate Gallery Picasso Print taken from Picasso's blue period in Paris, 56 cm x 41 cm, in oak frame & glazed (2)
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973).Drawing and dedication by Pablo Ruiz Picasso to Domingo Tormo.Ink on paper (bullfighting pamphlet).Signed, dated and dedicated.It presents a notarial act of 1989, where it indicates that the owner of the drawing is Hermenegildo-Domingo Tormo.Measurements: 21 x 27 cm; 40 x 45,5 cm (frame).It is a dedication and a small drawing handwritten by Picasso to the bullfighter Domingo Tormo on a leaflet of a bullfight in Arles in 1953. The dedication reads: "For Domingo Tormo. For you from your friend Picasso, here in Arles on 24 July 1953", and a drawing of two intertwined hands, one of which shows the lower part of the sleeve of a bullfighter's suit, symbolising the painter's friendship with the bullfighter.On the reverse is a print of a painting by Ruano Llopis.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
MANUEL TERÁN (Chile, 1974)."Eclectic (Lucio Fontana)". Tribute to the Geniuses, 2021.Oil on canvas. With painted crevices.Signed in the lower right corner. Signed, dated and titled on the back.Measurements: 100 x 140 cm; 111 x 145 cm (frame).In this work we can observe Lucio Fontana's characteristic language, which approaches an aesthetic of a conceptual nature, where he introduces the intellectual necessity in the exercise of reflecting on the work and its representation. In the catalogue of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to the artists he admires, even if his own work bears no relation to theirs. The heterogeneity of his preferences is patent and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to ignore aesthetic categories, as well as chronologies".A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of the plastic arts and new technologies applied to art. Since he made his name in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has been awarded prizes such as that of the Real Academia de San Carlos de Valencia (2004).
JACINTO SALVADÓ ARAGONÉS (Montroig, Tarragona, 1892 - Le Castellet, France, 1983)."Geometries", 1973.Oil on canvas.Signed and dated in the lower left corner.Size: 69 x 52 cm; 75 x 58,5 cm (frame).After beginning his training at the La Lonja School in Barcelona, Salvadó made his first study trip to Paris in 1909. Five years later he settled in Marseilles and completed his studies at the Ecole des Beaux-Arts. In 1919 he returned to Paris, where he visited the avant-garde art exhibitions and came into contact with Derain, Picasso, Torres-García and Julio González, among others. He alternated his residence between Paris and Barcelona until 1931, and made his individual debut in Barcelona in 1921 at the Galerías Dalmau. In 1924 he signed a contract with the Parisian Galeries Primtemps to decorate their shop windows. His first one-man show in Paris took place three years later at the Galerie Bing, where he was highly praised. He also took part in the Salons d'Automne and the Salons des Indépendants. He returned to his native Montroig in 1931, where he devoted himself for a time to plein air painting. His work acquired pictorial features of classicism, expressionism and surrealism, until he reached abstraction. During the 1930s and 1940s Salvadó, who first settled in Zurich and then in Le Castellet, began to combine figuration with geometric abstraction; in 1936 he painted his first abstract work, profoundly influenced by the geometric forms and precise calculation of Kandinsky. During the post-war period he took part in the Salon des Réalités Nouvelles, with compositions that were already close to Informalism, while retaining their geometrical basis. His last period, during the 1970s, centred on a return to flat geometry and strong chromatic ranges. He is currently represented at the Museo Nacional Centro de Arte Reina Sofía, the Museo de Arte Moderno de Tarragona, the Centre Pompidou in Paris and the IVAM in Valencia.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Yucatán 3", 1987.Mixed media on Kraft paper adhered to cardboard.Signed and dated in the lower right-hand corner.Provenance: Private collection.Measurements: 22 x 32 cm; 33 x 48 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out 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 the atmospheres, themes, objects and graphics of 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.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Tangonacht", 1994.Mixed media and collage on Japan paper.Signed and dated in the lower right corner. Signed, dated and titled on the back.Provenance: Private collection.Measurements: 56 x 76 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist slant, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out 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 prizes, 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.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Lluna plena, 2000.Mixed media (watercolour, charcoal and coloured pencil) on paper glued to cardboard.Signed and dated in the lower right-hand corner.Provenance: Private collection.Size: 15 x 21 cm; 19.5 x 29 cm (frame).After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out 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 the atmospheres, themes, objects and graphics of 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.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Composition, 2000.Watercolour, coloured pencils and pastel on paper with poetry glued to cardboard. Framed with passe-partout.Signed and dated in the lower left corner.Provenance: Private collection.Size: 17 x 21 cm.After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out 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 marked 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 prizes, 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.
Portfolio, Arthur Penn third year art student special study dated 1970 entitled 'Themes & forms' Lots of abstract & figural paintings, drawings, sketches, clippings, photos and typed text with references and quotes to/from Picasso, Matisse, Moore, Kandinsky, etc. Approx overall size 20 x 14 ½ inches Unframed.
Collection of 4 x lithographic prints (3 x Mourlot published in 1959) Pablo Picasso (1881-1973) Congres Des Peuples Pour La Paix Vienna 1952, Henri Matisse (1869-1954) Jazz Exposition Pierre Beres Paris 1947, Georges Braque (1882-1963) Galerie Adrien Maeght 1958, Marc Chagall (1887-1985) modernist/figural/animals etc published 1977. All mounted but unframed, approx overall sizes 20 x 16 inches.
A collection of art reference books. Books are: The paintings of LS Lowry oils & watercolours, Essential Monet, Derek Balmer – A Singular Vision, The Faber Gallery Gauuin (second collection), Picasso & the great painters, Atlantic Edge West Cornwall, Picasso Taschen (plastic wrapped sealed), The World of Picasso, Picasso Hans L.C Jaffe, Mary Fedden – Portland Gallery, R.I.P New York Soray Can Memorials, Patrick Heron – early & late garden paintings, Picasso Ingo F Walther Taschen, The Tate – A History – Frances Spalding, Picasso The Arts Council 1960 (damp staining), Crimes of Passion – Street Art Bristol, Charity on Camera in Edwardian Bristol, Futurism & Dadaism – Jose Pierre, The Fundamentals of Figure Drawings, Maus – A Survivors Tale – Art Spiegelman, Musse Picasso – Visitors Guide, Picasso’s Picassos, The Photo Book – Phaidon, The Silent Studio, Mary Fedden – A Retrospective, Clevedon Photographic Memories, Composition, William Blake – Kataleen Raine, 10000 of Art, Van Gogh – Josephine Cutts & James Smith, Augustus John Drawings, Impressions of the 20th Century, Metropolitan seminars in Art, Stencil Graffiti Tristan Manco, Street Logos Tristan Manco, The Life & Works of Andy Warhol. Also included are Adventures with Shapes, Chichester 10 Portrait of a Decade, Matisse Erotic Sketches, Sketches in Pen & Ink, Anatomy Figure Drawing Handbook, The Royal College of Art – Christopher Frayling, Van Gogh A.M Hammacher, Barbara Hepworth, Barbara Hepworth Sculpture Garden, Positivesverses by Thom Gunn, Henry Moore Penguin Books, The Virgin Mary through the eyes of painters, Tutankhamen – Christiane Desroches-Noblecourt, Barnens Konstbook, Leonardo 80 colour plates – dolphin art book, Barbara Hepworth – Centenary, Munch Grange Books, Passion for Paint the life and work of Barrington Tabb (signed), Kurt Jackson – paintings of Cornwall & the Scillies, Gasworks to Gallery – the story of Tate St Ives, Essential Klimt, Bristol Impressionists, The Peggy Guggenheim Collection, Essential William Morris, Simon Schama’s Power of Art, The Story of Art E.H Gombrich, Titian Norbert Wolf, Gauguin , Pablo Picasso Four Themes, Bacon Luigi Ficacci – Taschen, British Watercolour & Drawings Jessica Feather, Klee Will Grohmann, Stanley Spencer an English Vision, Diana in Art, The Banksy Q, Kandinsky – Taschen, Hopper – Taschen, Schiele – Taschen, Japanese Colour Prints, Henry Moore’s Sheep Sketches book, Holbein to Hockney from the Royal Collection, Frida Kahlo Diego Rivera & Mexican Modernism, In the Shadows of no Towers – Art Spiegelman, Home Sweet Home – Banksy, Ben Nicholson Norbert Lynton, Henri Matisse Cut-Outs – Taschen.
DANIEL VÁQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969)."Profile Portrait, 1923.Pencil on paper.Signed and dated in the lower left corner.Size: 30.5 x 23 cm; 46 x 38 cm (frame).Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to concentrate on painting and copying the masters of the Prado, where he became friends with Juan Gris, Solana and Darío de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. Around this time he began to develop his personal style, which blends the constructive brushstrokes of Cézanne with the geometric and flat structure of Cubism. On his return to Spain in 1918, he began to teach, first in his studio and later at the San Fernando School of Fine Arts, where he was awarded the chair of mural painting in 1932. Through his classes, Vázquez Díaz disseminated a Cubism of architectural monumentality, which served as a bridge between the young artists and the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz excelled as an illustrator and portraitist of some of the most important figures of his time. His murals for the monastery of La Rábida in Huelva between 1927 and 1930, which established him as a painter, are particularly noteworthy. In 1968, a year before his death, he was appointed a member of the San Fernando Academy. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte au compotier", 1951.Oil on canvas.Signed in the lower right corner.Provenance: Work acquired at the Art Curial gallery in Paris in June 1982.Work published in "Francisco Borés. Catalogue Raisonné. Pintura, Tomo II, 1945-1972", Hélène Dechanet, MNCARS and Fundación Telefónica, Madrid, 2003.Work exhibited in "Bores, Retrospective 1923-1972". Peintures, gouaches, dessins" 1982, Artcurial Paris, pg 28.Size: 59 x 71 cm; 63 x 76 cm (frame).This painting belongs to an extremely fertile creative period for Bores. Even though he was already an internationally recognised artist in the fifties, his work, far from stagnating, continued to expand the limits between figuration and abstraction. Here we see a return to the object through the still life but without renouncing the two-dimensionality, the intellectual synthesis and the force of colour applied in planes that defined his painting.Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended the Julio Moisés Free Academy, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists. He travelled to Paris, where he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London. In 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries. In 1969 he exhibited at the Galería Theo in Madrid. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. Francisco Bores is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, the Museo de Arte Reina Sofía in Madrid, the National Museum of Fine Arts in Madrid and the National Gallery of Madrid.
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972)."Domestic Animals", 1952.Oil on canvas.Work reproduced in the catalogue raisonné Volume II. Francisco Bores, painting 1945-1972, p. 232.With informative labels on the back (Laine Lana Gallery, Biosca Gallery and Louis Carré Gallery).Signed and dated in the lower right-hand corner.Provenance: Louis Carré Gallery (Paris).Size: 38.5 x 46 cm; 61 x 69 cm (frame).A year before this work was made, Borés joined the group of artists of the Louis Carré Gallery in Paris. In the image Borés offers us a scene made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, constructed by means of broad brushstrokes with energetic strokes. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of all artifice or anecdotal detail.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
MANOLO VALDÉS (Valencia, 1942)."Queen Mariana II".Etching and aquatint intervened by the artist. Copy 45/50.Signed and justified in the lower part.Measurements: 100 x 68 cm; 124 x 91 cm (frame).The classics are a constant in Valdés' work, both the painters and the figures they have created and made iconic. In this particular case, the female figure in the scene is shown without a face, although her clothing and silhouette bring the viewer closer to the work of Velázquez. The handkerchief she holds in her hand opens up a universe of colour in which the work "Las Meninas", painted by Picasso in 1957 and currently part of the collection of the Picasso Museum in Barcelona, is recreated. In such a way that Valdés places himself before the spectator, as heir to the Spanish artistic tradition and successor to the great painters; Velázquez, Picasso and Valdés. The endless iconographic possibilities offered by Diego Velázquez's canvases are demonstrated in the work in question. As its name suggests, in the series "Queen Mariana as a pretext" Valdés uses the famous painting "Queen Mariana of Austria" (painted by the Sevillian painter between 1652 and 1653) to adapt it to works by avant-garde artists: Miró, Malevich, Klee and Braque, among others, make this series a true declaration of intent by the Valencian artist, vindicating the role of the great traditional and modern painters in the evolution of the history of art.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal of the International Festival of Fine Arts, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
JOSEP ARMET PORTANELL (Barcelona, 1843 - 1911)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 100 cm; 84,5 x 124 cm (frame).An outstanding painter and lithographer, Armet cultivated landscape, genre, portrait and decorative painting. He began his training at the La Lonja School of Fine Arts in Barcelona, where his teacher was Ramón Martí Alsina. In the early 1960s he moved to Rome to further his studies, where he became friends with Mariano Fortuny. He submitted works to national and local exhibitions and was awarded an honourable mention at the National Exhibition of 1864 and a third medal at the 1866 edition. He also exhibited regularly at the Sala Parés in Barcelona from 1877 onwards. In 1872 he was awarded a prize at the Official Exhibition in Le Havre, France, and in 1878 he took part in the Universal Exhibition in Paris. In the field of lithography, in 1866 he produced a series entitled "La juventud pintada por sí misma" ("Youth Painted by Itself") along the lines of Eusebio Planas, the publication of which was banned. As a decorator, the paintings he produced for the Café del Liceu in Barcelona are particularly noteworthy. At first his language followed the style of the Olot School, a town to which he had moved in 1870 to escape the yellow fever, together with the painters Urgell, Caba and others, actively collaborating with his colleagues in the consolidation of the Centro Artístico Olotino (Olot Artistic Centre). For his landscapes he took sketches from life, which he then transferred to oil, sifting them with artificial light. His style during these years is part of Catalan realist landscape painting, with appreciable Roman influences in his technical preciosity. However, during his last years his style evolved along lines that were linked to the work of Ramon Casas and the first Picasso. He turned his gaze towards contemporary street themes, featuring ordinary people, and his brushstrokes acquired a greater looseness and gestural sense. Josep Armet is represented in the Museo del Prado and the Museo Provincial de Girona, among other public and private collections.
RICARD CANALS LLAMBÍ (Barcelona, 1876 - 1931)."Cadaqués, Costa Brava".Oil on canvas.Signed in the lower right corner. Titled on the back.Size: 24 x 33 cm; 38 x 47 cm (frame).Ricard Canals was a painter, draughtsman and engraver, member of the "Colla del Safrà" (Saffron Group, so called because of its peculiar chromatic palette) together with the painters Nonell, Mir, Pichot and Vallmitjana. He began his studies at the La Lonja School in Barcelona, but abandoned them shortly afterwards to continue painting in the street. A friend of Isidre Nonell, in 1896 they travelled together to Caldes de Boí, and the following year they moved to Paris. In the French capital they both exhibited at the Chez Dosbourg gallery with great success. Nonell returned to Barcelona and Canals stayed on to work for the dealer Durand-Ruel, the dealer of the Impressionists, representing artists such as Corot, Monet and Pissarro. He was a personal friend of Picasso at this time, who portrayed his wife. He took part in the French Salons of 1897 and 1898, as well as in the exhibition held in 1902 at the Durand-Ruel gallery in New York. In 1907 he returned permanently to Barcelona, where he presided over the association Las Artes y los Artistas. From then on he made several trips around Spain, visiting Madrid, Seville and Granada. From then on his works had a distinctly Spanish flavour, combined with his modern language. It was precisely this Spanish theme that brought him his greatest success in Paris, although in his later years he evolved towards a style of painting closer to noucentisme. He also distinguished himself as a portraitist. His last important work, before his premature death, was the decoration of the ceiling of one of the halls of Barcelona City Hall. In 1933, two years after his death, the Sala Parés in Barcelona held an extensive exhibition in homage to him. Much of his work is kept in the National Art Museum of Catalonia, but it is also in the collections of the Abbey of Montserrat, the Thyssen-Bornemisza Museum and the National Museum of Fine Arts in Chile.
OMER FAWZI EFFENDI (Istanbul, 1914-1984)."Interior of a café.Ink on card.Signed in the lower left corner.Size: 22 x 29 cm; 38 x 43,5 cm (passe-partout).In this scene the author presents us with the world of the cafés, with characters in oriental clothes, with the usual low tables and chairs consuming bongs. However, despite this orientalist allusion, the artist introduces a young man who breaks with the scheme of the image. In the lower right-hand corner of the composition, a young man stands before the viewer in Western dress, Prince Omer Fawzi was born in the Haider Pasha Palace in Istanbul, a descendant of the last sultans of the Ottoman Empire. Prince Omar Fawzi studied painting in France and moved to the Bouzar University, Faculty of Fine Arts, in Paris, at the age of 19. During his stay in the French capital he developed strong friendships with the Spanish artists Salvador Dalí and Picasso, during which he had extensive conversations and discussions on philosophy and art at the famous Café de Flore in Paris.
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Sala Gaspar, Barcelona".Lithograph on paper, copy 3/3.Signed and dated in pencil by Pablo Picasso.Presents certificate from the Sala Gaspar.Measurements: 24 x 18 cm; 39 x 34 cm (frame).This lithograph is a Christmas greeting card from the 1960s from the Sala Gaspar in Barcelona. It is signed by Pablo Picasso, both in plate and by hand. It is an invitation addressed to Marisol de Villanueva, an actress and director of western cinema, who was also a good friend of the cubist artist.Pablo Ruiz Picasso is the great genius of contemporary painting. The creator of Cubism together with Braque, his capacity for invention and creation places him at the pinnacle of world painting. He was born in Malaga, where his father was a drawing teacher and director of the Municipal Museum. The Ruiz Picasso family soon moved to A Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the style of the school was entirely academic, the painter soon came into contact with modernist groups which changed his form of expression. Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything, but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with bright colours and strange shapes.In the 1950s he made several series of important classical paintings which he reinterpreted in homage. By the 1960s he had become a legend in the art world and the artist lived his last years at the Château de Vouvenargues, where he was able to continue his work until the end of his life. An example of this work is this Christmas invitation.
EDUARDO ARRANZ BRAVO (Barcelona, 1941)."Face", 1986.Mixed media on paper.Signed and dated in the lower left corner.Size: 50 x 50 cm; 53 x 53 cm (frame).Eduardo Arranz Bravo trained at the Sant Jordi School of Fine Arts in Barcelona between 1959 and 1962. He made his solo debut in 1961, at the University Club of Barcelona, but the exhibition that made him known to the Barcelona critics was the one organised by the Barcelona Athenaeum in 1961. Between 1968 and 1970 he formed part of the group made up of Gerard Sala, Robert Llimós and Rafael Lozano Bartolozzi. He continued to collaborate with the latter until 1982, alternating joint and solo exhibitions. His contact with these artists influenced his initially abstract style, which approached the new figuration and pop art. He has held exhibitions all over Spain, as well as in Paris, Amsterdam, Venice, São Paulo and Rio de Janeiro. In 1983 he held an anthological exhibition of his work at the Sala Gaspar in Barcelona, and between 1986 and 1988 he was in charge of the artistic direction of Jaime Camino's films "El balcón abierto" and "Luces y sombras". He took part in the VIII Salón de Mayo in Barcelona and in the exhibitions "Muestra de Arte Nuevo" (Barcelona, 1971), "Picasso 90" (Louvre Museum, 1971), "Experiencias conceptuales" (Barcelona, 1971-72), among others. In 1989 he presented an exhibition of the work of his last three years at the Museum of Modern Art in São Paulo, and an anthological exhibition at the Palau Robert in Barcelona. His prizes include the II Bienal Internacional del Deporte, the figure award of the Bienal Estrada Saladich, and the Ynglada-Guillot drawing prize. His work can be found in the Reina Sofía Museum in Madrid, the Fine Arts Museums of Vitoria and Seville, the Museum of São Paulo and the Museum of Modern Art in New York.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled, 1990.Ink on silk paper.Signed and dated in the lower right corner.Provenance: Private collection.Size: 90 x 60 cm; 109 x 79 cm (frame).After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out 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 prizes, 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.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009).White series-5."Red Penya" 1984.Mixed media and on paper.Signed and dated in the lower left corner. Signed, titled and dated on the back.Provenance: Private collection.Measurements: 64 x 49 cm.After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out 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 the Tate Gallery in London, among many others.
ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled.Lithograph, copy 22/75.Signed and numbered by hand.Size: 77 x 143 cm; 94 x 162 cm (frame).Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly appreciated internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, his paintings show how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Valerie".Watercolour on paper.Signed with stamp.With label on the back of the Alcolea Gallery.Size: 15,5 x 20,2 cm; 33 x 38 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the stroke and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Sur les fleurs".Watercolour on paper.Signed with stamp.With label on the back of the Alcolea Gallery.Size: 20 x 16 cm; 38 x 33 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the line and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.
MARIE LAURENCIN , PARIS, 1883 - PARIS, 1956 Anemones in a blue vase Oil on canvas 49 x 64.5 cm Fifteen or so anemones with wide-open corollas emerge from an oblong blue vase, camped in the centre of the composition. There is no indication of space or even depth. The vase is flush with the edge of the frame, while the background declines in a gradation from light yellow to dark grey, suddenly interrupted by a pinkish band on the right. Reduced to their simplest forms, the disc of a black pistil in the centre of a poly-lobed mass evoking the petals, these flowers are a kind of purity. The poetry that emanates from them, typical of Marie Laurencin's style, lies in a certain naivety of touch, with frank but subtle colours, in a palette that is recognisable among all. The warm greys of the background serve to exalt the brighter tones of the anemones, variations of reds and mauves, punctuated with white. The royal blue of the vase supports the whole composition with its mass and gives it its strength. Just as in her portraits, which use the same coloured range, Marie Laurencin, likes to synthesise forms and colours to draw out the essence of her subjects. Marie Laurencin (1883-1956) was a French portraitist, poetess and illustrator. Enrolled at the École de Sèvres, to become a porcelain painter, as well as at the Académie Humbert, she became friends with Braque and Picabia. In 1907, she exhibited for the first time at the Salon des Indépendants with Picasso and Derain, thus flirting with cubism, in her famous Group of Artists, now in the Baltimore Museum. Her reputation then rose in France, and later in Germany. Exiled to Spain during the First World War, she frequented the Dada milieu but her style was not very permeable to the influences of her artists. It was during the interwar period that her career as a society portraitist reached its peak. Her singular style does not so much seek to resemble the model as to create a recognisable mask from her palette of cold colours. Her portraits, though fashionable objects, also express the search for an eternal feminine. Her graceful bouquets of flowers seem to be their vegetable counterpart, in search of the same purity. Work reproduced in the Catalogue raisonné de l'oeuvre peint, Daniel Marchesseau, Paris, 1986, p. 247, n° 564. Signatur: Signed and dated lower left 'Marie Laurencin 1933'
MAURICE DE VLAMINCK , PARIS, 1876 - RUEIL-LA-GADELIÈRE, 1952 Varied Bouquet Oil on canvas 65 x 55 cm Underneath its apparent simplicity, this bouquet of flowers offers us a manifesto of Vlaminck's painting. Everything here speaks to us of his touch, his style, his palette... the background with its still fauvist colours on which these flowers stand out with more impasto touches, already announces the transition of his style. The table at an angle, where the vase rests, offers a semblance of depth, but the disappearance of its contours in the coloured variations of the wall abolishes any notion of plan. In defiance of all optical laws, the shadow cast by the bouquet invades the table but remains curiously contained by its raised edge, as if it were liquid. The vase, slightly off-centre, brings its white roundness to the composition and in return receives the circular application of a white reflection, the only touch of bright light. The flowers with their sharp colours also show the liveliness of the painter's touch. The gladioli with their red petals dart their agitated stems above the wallflowers with their bright yellow and vermilion dappled patches... This floral fireworks contrasts with the serenity of the background, whose more diluted colours, inherited from his Fauvist period, evoke a landscape bathed in the light of dawn. Between still life and landscape, Vlaminck seems to want to blur the lines.Maurice de Vlaminck (1876-1952) was a self-taught painter of Belgian origin. He became known, as early as 1905, for his participation in the Salon d'automne, which caused a scandal. With his friends Derain, Matisse and Dufy, he initiated a new style described by critics as 'Fauvist' and characterised by bright, pure colours applied in large areas without direct reference to the painted object. Although the movement hardly lasted beyond the 1910s, it nevertheless left its mark on all of Vlaminck's work. From 1907 onwards, he discovered the work of Cézanne, which was to be his second great revelation and would have a great influence on his landscape compositions. On the other hand, his aversion for Picasso and cubism, will oppose him during the second world war to the Spanish master and to an avant-garde of which he had been an active member. Vlaminck's painting is generous and spontaneous. On the borderline of the figurative, his style, with broadly brushed strokes and saturated colours, owes as much to the work of Van Gogh, for his taste for impasto, as to that of Cézanne, for his daring spatial constructions. Certificate: Wildenstein Institute Signatur: Signed lower right 'Vlaminck'
EDOUARD VUILLARD , CUISEAUX, 1868 - LA BAULE, 1940Woman on a sofa (L'Attente)Oil on canvas mounted on panel 75.5 x 41 cmWith her head tilted to one side and a melancholic air, this woman seated on a sofa is letting herself go to her thoughts. Everything in her bearing and dress, hat, coat and fur collar barely unzipped, suggests that she is visiting, waiting to be received. Occupying the centre of the canvas, all in length, she is represented in the centre of the room, in the second plan, as if observed from a point of view that accentuates this feeling of solitude, even of abandonment. Perfectly balanced, the frontal composition organises the planes in a succession of horizontals which gives the work stagnation and flatness, crushing perspective. The wall panelling and the edge of the table superimpose their parallel lines. The bas-relief and the Japanese print hanging in the background align their geometric planes, which are echoed by the table top in the foreground. The sofa, the only organic form, creates a break with its colour, bright red, and its size, occupying the entire width of the canvas. The artist's touch, more and more present as she approaches the foreground, contributes to creating this aspective effect, close to abstraction. Isolated in her world, the young woman seems to be sitting on a cloud, levitating. Vuillard, by asserting his touch, makes painting his true subject.Provenance: Theodore Duret, Paris ; galeire Bernheim Jeune, Paris ; Svensk-Fransk Konstgalleriet, Stockholm ; Carl Matthiessen, Stockholm ; Nore Lungren, Stockholm ; collection Bonnier, Geneva ; Wildenstein & co., New-York ;Stockholm, Svensk-Fransk Konstgalleriet, Uställning ung svensk Konst, 1938 ; Stockholm, Nationalmuseum, France through artists' eyes, 1941 ; Stockholm, Svensk-Fransk Konstgalleriet, French Art : from private collections in Stockholm, 1951, n°74 ; Stockholm, Liljevachs Konsthall, Cezanne to Picasso, French art in Swedish ownership, 1954, n°395, illustré ; Stockholm, Nationalmuseum, Five centuries of French art, 1958, n°173 ; Tokyo, Wildenstein, Bonnard, Vuillard, K. X. Roussel, 1974, n°22 illustrated, Tokyo, Fujikawa Galleries; Osaka, Fujikawa Galleries; Fukoko, Fujikawa Galleries, Masterpieces from 1850 to 1950, 1977, n°14, illustrated; Roslyn, New-York, Nassau County Museum of Art, Long Island Collects, The Figure and Landscapes, 1990; Roslyn, New-York, Nassau County Museum of Art, La Belle Epoque, 1995.Signature: Signed lower left 'E. Vuillard'Bibliography: I. De HOOR, Nägra franska malningar i Carl Matthiessens samling, Konstrevy, 1928, p. 8; I. De HOOR, La collection Matthiessen à Stockholm, L'Amour de l'art, vol. 11, 1930, p. 412, illustrated; Architectural Digest, May-June 1976, p. 64, illustrated in colour; Antoine SALOMON & Guy COGEVAL, Vuillard: Le Regard innombrable, critical catalogue of paintings and pastels, vol. II, Milan, 2003, No. VII-201, p. 644, illustrated in colour.
Mourlot - - Prints from the Mourlot Press. Exhibition sponsored by the French Embassy. Circulated by the Traveling Exhibition Service of the National Collection of Fine Arts Smithonian Institution 1964-1965. Mit 20 Lithographien, meist farbig und blattgross, eine davon auf dem Umschlag. Paris, Mourlot, 1964. Farbig illustrierte Original-Broschur (minimal gebräunt). Eines von 200 nummerierten Exemplaren auf Vélin de Rives für Künstler, Mitarbeiter und Freunde des Verlags (GA 2200). - Mit Lithographien von Chagall (Mourlot 415), Picasso (Mourlot 400), Miró (Mourlot 332/333), Beaudin, Estève, Matisse, Cocteau, Calder, Giacometti, Glarner, Jenkins, u. a. - Mit dieser wichtigen Ausstellung würdigte der französische Staat die Arbeit und Bedeutung eines der wichtigsten Drucker-Verleger des 20. Jahrhunderts. - Teils etwas braunfleckig. Graphiken farbsatt. Gutes Exemplar. With 20 lithographs, mostly in colour and sheet size, one of them on the cover. Numbered copy - On wove paper (papier vélin) by Rives. - With lithographs by Chagall (Mourlot 415), Picasso (Mourlot 400), Miró (Mourlot 332/333), Beaudin, Estève, Matisse, Cocteau, Calder, Giacometti, Glarner, Jenkins and others - With this important exhibition the French state honoured the work and importance of one of the most important printer-publishers of the 20th century.
Max Jacob. Chronique des temps héroiques. Mit 1 Originallithographie als Frontispiz, 3 Original-Radierungen, 24 Textholzschnitten u. farb. Umschlaglithographien von Pablo Picasso. Paris, Louis Broder, 1956. 126 S., 4 Bll. 4°. Weißer Maroquin mit goldgeprägtem RTitel und schwarzen geometrischen Maroquin-Applikationen auf Deckeln. Doublüre aus rotem Maroquin mit goldgeprägtem Monogramm (L-P. L.). Dreiseitiger Goldschnitt, fliegende Vorsätze aus Japan. (Rücken und Gelenke minimal berieben.) Original-Broschur und -Rücken eingebunden. Einband signiert: J. Clasat. Erste Ausgabe (posthum erschienen). - Zweiter Band der Reihe Écrits et Gravures. - Mourlot 271. Bloch 743 u. 802-804. Cramer 78. Monod 6297. - Eines von 150 nummerierten und von Picasso im Druckvermerk signierten Exemplaren (GA 170). - Eins der Werke Max Jacobs, die von Picasso illustriert wurden. Max Jacob wohnte wie Picasso 1907 im Bateau-Lavoir Rue Ravignan. Er war einer der ersten und engsten Freunde Picassos. "Max Jacob erzählt von den Futuristen, den Surrealisten, von seinen Freunden Apollinaire und Picasso und natürlich auch von Paul Guillaume, als Sammler afrikanischer Kunst. Picasso machte für dieses Buch zu Ehren seines früh verstorbenen Freundes am 7. September 1956 drei Kaltnadelarbeiten: Max Jacob beim Schreiben, in Rückenansicht und im Profil. Ein am 23. September in Vallauris entstandenes lithographisches Portrait diente als Frontispiz ... Das Buch ist außerdem mit 24 Holzschnitten von Georges Aubert nach Picasso-Zeichnungen illustriert" (Kat. Basel 1995). - Einige Seiten mit Abklatsch der Illustrationen. Papierbedingt in den Rändern zart gebräunt. Gutes Exemplar in dekorativem Handeinband. With original lithograph as frontispiece, 3 original etchings, 24 woodcuts in text and ill. wrappers by Pablo Picasso. White morocco with gilt title and black geometric morocco applications on covers. Doublure in red morocco with gilt monogram (L-P. L.). Gilt edges, Japan flyleaf endpapers. (Spine and joints minimally rubbed.) Orig. wrappers and spine bound in. Binding signed: J. Clasat. - First edition (published posthumously). - Second volume of the series "Écrits et Gravures". - One of 150 numbered copies signed by Picasso in the imprint (total ed. 170). - One of Max Jacob's works, which were illustrated by Picasso. Like Picasso, Max Jacob lived in the Bateau-Lavoir Rue Ravignan in 1907. He was one of Picasso's first and closest friends. "Max Jacob narrates about the Futurists, the Surrealists, about his friends Apollinaire and Picasso and, of course, about Paul Guillaume, as a collector of African art. Picasso made three drypoint works for this book in honour of his friend, who died at an early age, on 7 September 1956: Max Jacob writing, in back view and in profile. A lithographic portrait made in Vallauris on 23 September served as the frontispiece ... The book is also illustrated with 24 woodcuts by Georges Aubert after Picasso drawings" (exh. cat. Basel 1995). - A few pages with offset from the illustrations. Paper slightly browned in the margins. Good copy in decorative hand binding.
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