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Lot 081
Bob Crossley (1912-2010) St Ives School, abstract oil on board titled on reverse 'Clown Mid Day Studios 1959', 51cm x 40cm. Not signed. After war service, Crossley attended art classes at the Mid Day Studios in Manchester and he later exhibited there and at the Manchester Academy of Fine Art. He was elected a member of the Penwith Society 1960 and of the Newlyn Society 1961.
Lot 12
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled.Mixed media on paper.Signed in the lower right corner.Size: 92 x 62 cm; 105,5 x 74,5 cm (frame).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 Tate Gallery in London, among many others.
Lot 22
JOSEP GRAU GARRIGA (San Cugat del Vallès, Barcelona, 1929 - Angers, France, 2011).Untitled, 1980.Mixed media and collage on canvas.Signed and dated in the upper left corner.Size: 22 x 27 cm; 33 x 38 cm (frame).A painter, sculptor, engraver and tapestry weaver, Grau Garriga trained at the Schools of Arts and Crafts and Fine Arts in Barcelona, his early works being characterised by a post-cubist aesthetic. After the death of his father in 1957, he travelled to Paris, where he met Jean Lurçat, a master of modern tapestry. In the French capital he also came into contact with informalism and matter painting. In the French capital he also studied the techniques and languages of Gothic tapestry and new French tapestry. On his return to Sant Cugat del Vallès in 1958, he set up the Escola Catalana del Tapís (Catalan Tapestry School) at the Alfombras y Tapices Aymat house, of which he was artistic director. In 1964 he presents the first individual exhibition of tapestry in Catalonia, at the Sala Gaspar in Barcelona. His work at this time shows the great influence of informalism, and in the sixties he began his paper-collages, integrating metallic threads and using visible warping in his tapestries. In his pictorial work, Grau Garriga works a lot with collage and assemblage, and his interest in tapestry means that weaving has a special importance in his painting. This artist takes us into informalist surrealism, with very particular visions in his treatment. In his mature stage, the retrospective that the Palau Robert in Barcelona dedicated to him in 1988, and the homage that his hometown paid him in 2004 with the declaration of the "Grau Garriga Year", which took the form of a double exhibition, one of recent work and the other dedicated to his origins in art, stand out. His work is currently distributed in major collections and museums around the world, such as the Museum of Abstract Art in Cuenca, the MACBA in Barcelona and the Metropolitan Museum of Art in New York.
Lot 25
ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009).Seria Herzegovina.1987Mixed media on paper.Signed and dated in the lower right-hand corner.Provenance: Private collection.Measurements: 43 x 59 cm; 51 x 66 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.
Lot 37
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies I".1988.Watercolour on paper.Signed with stamp in the upper margin.With label on the back of the gallery Fernando Alcolea, Barcelona.Size: 16 x 20 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 European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances 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.
Lot 38
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies II". 1980's.Watercolour on paper.Signed with stamp in the left margin.Size: 16 x 20 cm; 31 x 36 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 European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances 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.
Lot 43
AURELIE NEMOURS (Paris, 1910-2005).Untitled. ca.1980.Painting on wood.Unsigned.Size: 23,3 x 32,5 cm.Aurelie Nemours managed to make a well-deserved name for herself within the abstract-geometric movement that developed in the sixties, heirs of the interwar avant-garde. Here we show a painting that was probably executed in his mature period, when he had already had numerous exhibitions in France and the USA. Orthogonality, flat, bright colours (in this case seeking a textured but uniform finish) and a desire to avoid interpretation defined her work.Aurelie Nemours was an important abstract painter belonging to the Constructive Art movement. In 1941, she attended André Lhote's studio. After the war, she attended the studio of Fernand Léger, who had reopened his studio in Paris. He began exhibiting at salons in 1944, then in 1949 at the Salon des Réalités nouvelles in Paris, where Auguste Herbin was exhibiting. In 1955, a Parisian publisher printed his first collection of poems "Midi la lune", embellished with his own woodcuts, which received a favourable review. At that time he had begun to work with pastels and created this exceptional series of black and white works, full of contrasts, with compositions strictly based on orthogonality, which he entitled Les Demeures (The Mansions) in reference to the writings of St. Teresa of Avila. In 1953, Gallery Colette Allendy organised Nemours' first solo exhibition in Paris. In 1957, Aurelie Nemours took part in the activities of the Groupe Espace. In 1960 she took part in the exhibition organised by Gallery Denise René in New York and presented at Gallery Chalette, "Construction and Geometry in Painting from Malevitch to Tomorrow", which consecrated her belonging to the current of Geometric Abstract Art. In 1998 he received a public commission for the stained glass windows of the church of the Priory of Notre-Dame de Salagon in Haute-Provence. In 1994, he received the Grand Prix national de peinture in France, although he had stopped painting since 1992, due to macular degeneration affecting his eyes. In 1996, the Grenoble Museum organised an exhibition in homage to Nemours. Two major retrospectives followed, one in Valencia organised in 1998 at the IVAM, the other at the Musée des Beaux-Arts in Rennes the following year. In 2001 she exhibited at the Musée de la Cohue in Vannes. It was not until 2004, when Aurelie Nemours was 94 years old and almost blind, that the Centre Georges Pompidou devoted a retrospective exhibition to her, with 170 works and a major published catalogue, an exhibition that received 150,000 visitors.
Lot 46
YAGO HORTAL (Barcelona, 1983).Untitled, 2012.Mixed media on canvas.Signed and dated on the back.Size: 30 x 33 x 8 cm.Yago Hortal began exhibiting in 2006 and since then he has already had a considerable international tour, becoming a benchmark in the current art scene. His work is based on the revision of abstract painting, creating images from the way it is applied (large sweeps, splashes, thick accumulations, overflowing brushstrokes) and its physical characteristics. In his pieces, the brushstroke grows so large that it acquires volume, and combines with a lively and colourful language that radiates optimism. Considered by Enrique Juncosa, former deputy director of the Reina Sofía Museum and a great specialist in the figure of Miquel Barceló, as an artist who continues the Catalan material tradition, including Tàpies and Barceló - albeit with a totally different chromatic range - Hortal has established himself as an essential figure of the new international pictorial generation.On a solo level Hortal has exhibited his work at the Galería Senda in Barcelona (years 2021, 2018, 2016, 2013, 2009, 2008), at the Museo Can Framis (retrospective exhibition in 2021), at the Nikolaus Ruzicska Gallery in Salburg, Austria (years 2021, 2017, 2016), at Dirimart Nisantasi in Istanbul (2017), at the Galeria Maior in Pollença (2015), at the Casal Solleric, Fundació Palma Espai d'Art in Mallorca (2012), at the Egbert Baqué Contemporary Art in Berlin (2011) and at the Rooster Gallery in New York (2011). His work is currently represented in important collections: MOCO Museum, Papko Art Collection, FerkoArt, MAC - Museo de Arte Contemporáneo Unión Fenosa, Fundació Vila Casas, Castell de Peralada. CCA Andratx, Josep Mª Civit Collection, Ernesto Ventós Foundation. Banc Sabadell and University of Barcelona.
Lot 57
OTTO ZITKO (Linz, Austria, 1959)."Untitled. 2002.Oil stick on aluminium.Signed and dated on the back.Size: 212 x 210 cm.The graphic and abstract universe of Otto Zitko, like the one we show here, always hides surprises if the spectator stops in an attentive contemplation: human figures, faces, fragments... can be guessed in underlying layers to the energetic gestures.Otto Zitko lives and works in Vienna. From 1977 to 1982 he studied at the University of Applied Arts in Vienna. In 1996 he won the Msgr. Otto Mauer Award and in 2004 he was awarded the City of Vienna Award for Fine Arts. In his career he has had numerous solo and group exhibitions in galleries and museums such as: Museum Angerlehner, Thalheim/ Wels (2022); Leopold Museum, Vienna (2021); Albertina Modern Museum, Vienna (2021); Museum Liaunig, Neuhaus/Suha (2021); CRONE BERLIN, Berlin (2020 and 2021); LENTOS Kunstmuseum Linz, Linz (2019); Galerie Elisabeth & Klaus Thoman, Vienna (2017); Galeria Heinrich Ehrhardt, Madrid (2015); Landesmuseum Ferdinandeum, Innsbruck (2015); 21er Haus, Vienna (2015); Wien Museum, Vienna (2015); MUSA, Vienna (2015); Essl Museum, Klosterneuburg (2015); The State Hermitage Museum - General Staff Building, St. Petersburg (2014); Kunsthofenburg (2014); Kunsthofenburg (2014). Josef, Solothurn (2012); The Brno House of Arts (2012); Kunstmuseum Liechtenstein, Vaduz (2011); Museum Moderner Kunst Stiftung Ludwig, Vienna (2011); Tresor bank Austria Kunstforum, Vienna (2011)....His work can be found in major public and private collections such as Essl Museum - Kunst der Gegenwart, Klosterneuburg, Lentos Kunstmuseum Linz, Linz, Landesmuseum Niederösterreich, St. Pölten, Bank Austria Kunstforum, Vienna (2011). Pölten, Bank Austria Kunstforum, Vienna, Sammlung Ploner, Vienna, Strabag Kunstforum, Vienna, Sammlung Alison & Peter W. Klein, Eberdingen-Nussdorf, Mezzanin Stiftung für Kunst, Schaan or Fundación Barrié - A Coruña, A Coruña.
Lot 58
FERNANDO ZÓBEL DE AYALA Y MONTOJO (Manila, Philippines, 1924 - Rome, Italy, 1984)."La ventanita", 1969.Oil on canvas.Work verified by the art historian Don Alfonso de la Torre.The piece will be included in the artist's catalogue raisonné.Signed in the lower right corner. Signed, dated, located (Seville) and titled on the back.Size: 40 x 40 cm; 55 x 55 cm (frame).The subject matter of the work and the period in which it was executed bring us closer to a period in which Zóbel worked aesthetically inspired by the view from his studio window. During this period he adapted his compositions to the landscape itself, basing them on the masses of stone and trees, synthesising the forms into a lyrical abstract expression in which the superfluous fades away. The work proposes a dialogue where the concept of the window, which is represented by the geometric forms defined in the centre of the image, merges into a subtle, vibrant and metaphorical atmosphere. The theorist José Hierro defined this period of the artist as follows: "We are in the realm of painting as a "mental thing", in the Platonic world of ideas. Zóbel finds the embryo of his work in nature. But he needs this raw material to lose its consistency, its geological elementality, to become a product of intelligence assisted by sensibility. The whole quest consists in finding an essence that is the "objective correlate" of the landscape seen, seen again, travelled through, dreamt of. Zóbel acts with the serenity of a chemist who breaks down a substance into its simple elements...".Also known as Fernando M. Zóbel, he was a Spanish Filipino painter, businessman, art collector and founder of the Museum of Abstract Art in Cuenca. Zóbel was born in Ermita, Manila in the Philippines, and was a member of the prominent and well-to-do Zóbel de Ayala family. It was his uncle who would teach the young Fernando his first knowledge of art. Zóbel studied medicine at the University of Santo Tomás in Manila. In 1942, he suffered a spinal deficiency that forced him to stay in bed that year. To pass the time, he turned to painting. He studied at the University of Santo Tomas and then transferred to Harvard University in 1946 to pursue degrees in history and literature. He finally graduated in three years and wrote a thesis on the work of Federico García Lorca. Zóbel began painting during this period without formal training at Harvard. In the fall of 1946 he met Jim Pfeufer and his wife Reed Champion Pfeufer. Reed was a painter who was loosely related to the Boston School, and she became a mentor to the young artist. Zóbel graduated in 1949 magna cum laude. After completing his degree, he returned briefly to Harvard to study law, and then worked as a curator at the Houghton Library. He founded the Museum of Spanish Abstract Art at Casa Colgadas, in the city of Cuenca, Spain, in 1963. The museum was expanded in 1978, and in 1980 Zóbel donated his collection to the Fundación Juan March, which later incorporated it into its own collection. Zóbel was a mentor and collector who assisted in the careers of Spanish modernist painters, including Antonio Lorenzo, Eusebio Sempere, Martín Chirino López, Antonio Saura and many others. In the late 1960s and early 1970s, Zóbel was working on a series of paintings called Dialogues which were his abstract variations on paintings he admired in museums. He also produced a series of paintings inspired by the river Júcar in Cuenca. After suffering a stroke that left him slightly impaired, he created a series called "Las Orillas" which he produced on the theme of rivers. In 1983, King Juan Carlos of Spain awarded Zóbel the Gold Medal for Merit in Fine Arts.
Lot 69
LUIS FEITO (Madrid, 1929- 2021).Untitled.Silkscreen, copy P.A.Signed and justified by hand.Measurements: 76 x 56 cm.Born and educated in Madrid, he was one of the founding members of the group El Paso. In 1954 he had his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums all over the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.
Lot 70
MANUEL HERNÁNDEZ MOMPÓ (Valencia, 1927 - Madrid, 1992)Untitled.Silkscreen, copy H.C.Signed and justified by hand.Slight rust stains in the margins and a small tear.Measurements: 56 x 75 cm.The son of a painting teacher, Hernández Mompó alternated his basic and high school studies with classes at the School of Applied Arts and Artistic Trades in Valencia, where he entered in 1943. In 1948 he obtained a grant to paint in Granada, at the Residence for Painters, and three years later a new grant enabled him to travel to Paris. In the French capital he came into contact with the circles of informalist painters, whose influence would mark his later work, leaving behind the landscapes and portraits that had dominated his oeuvre until then. Between 1954 and 1955 he spent a long period in Rome, on a grant from the Department of Culture of the Ministry of National Education to study at the Spanish Academy of Fine Arts in the Italian capital. In 1954 he took part in the Viareggio International Exhibition, where he was awarded the Italian Navigation Prize. He left Italy and settled in Amsterdam, where he again frequented the informalist cenacles. In 1957 he returned to Spain and settled in Aravaca (Madrid). The following year he was awarded a grant from the Juan March Foundation in Madrid, and won the Grand National Painting Prize and a first medal at the National Exhibition of Fine Arts. During the sixties and seventies he alternated his residence between Madrid, Ibiza, and in 1973 he spent a year in California. On his return to Spain he settled in Mallorca. Hernández Mompó exhibited in the main capitals of Europe and the United States, and took part in national and international exhibitions. Among his most outstanding awards was the Unesco Prize received at the 34th Venice Biennale in 1968. In 1984 he was awarded the National Prize for Fine Arts by the Ministry of Culture. His youthful style was soon influenced in a definitive way by abstract expressionism and informalism, although his works never lost reality as a reference point. In his production, Hernández Mompó captures a figurative and poetic imagery, harmoniously mixed with abstract elements and rich superimposition effects. Hernández Mompó is represented at the IVAM in Valencia, the Museo Nacional Reina Sofía, the Museo de Arte Abstracto in Cuenca, the British Museum in London, the Centre Georges Pompidou in Paris, the Chase Manhattan Bank Collection in New York and the Winterthur Museum in Switzerland, among many others.
Lot 81
JEANNE MODIGLIANI (Nice, 1918 - Paris, 1984).Untitled.Mixed media and collage on paper.Signed with initials in the upper left corner.Size: 65 x 50 cm.Daughter of the acclaimed painter Amedeo Modigliani and the artist Jeanne Hébuterne, Jeanne Modigliani never knew her parents: Amadeo died on 24 January 1920 when Jeanne was only fourteen months old and her mother, the painter's muse, committed suicide a few hours later. The child was adopted by her paternal aunt and grew up in Livorno, where she graduated in art history at the University of Florence. Of Jewish origin and granddaughter of a socialist, in 1939 she fled to Paris because of fascist persecution and, after the Nazi occupation, joined the Maquis. After the war, Jeanne Modigliani began to search for the truth about her father. In 1952, with a grant from the National Centre for Scientific Research, she also embarked on research into Van Gogh. It was precisely the similarities between the life of the Dutch painter and that of her father that brought her back to him, to Modigliani, to whom she devoted herself completely from that moment on. Her constant interest in obtaining official recognition of the value of her father's work was a great success when, in 1981, in Paris, she mounted the most complete exhibition of Modigliani: more than 250 works including paintings, sculptures, gouaches and drawings formed part of an exhibition that increased, if anything, interest in the master. In 1983 she founded the Archives Légales Amedeo Modigliani to classify and protect Modigliani's work. However, Jeanne Modigliani's life was not limited to documentary work; she inherited her father's mastery of the brush. With a production close to abstract expressionism, sometimes approaching figuration, Jeanne Modigliani's compositions expressed, with total sincerity and freedom, the deepest states of the soul. From the most dynamic and spontaneous compositions to the most calm and soothing, Jeanne knew how to capture her most intimate and personal self in her works.
Lot 87
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Gargal", 1986.Watercolour, pencil and crayon on paper.Signed and dated in the lower left corner.With Joan Prats Gallery stamp on the back.Provenance: Private collection.Measurements: 32.5 x 69 cm; 48.5 x 78 cm (frame).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 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.
Lot 677
A Tiffany & Co gold brooch of shaped oval abstract form with spiral decoration, detailed '14kt', weight 13.5g, width 4.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 572
An 18ct two colour gold wind band ring in an abstract textured design, London 1973, weight 8.2g, ring size approx J.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 763
A gold, emerald and diamond pendant necklace, the front in an abstract design, mounted with circular cut diamonds and emeralds with a pair of tassel drops, on a cylindrical clasp, unmarked, length 42cm, together with a matching pair of earrings with post and folding fittings, unmarked, length 1.5cm, total weight 9.8g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 117
D Wetheritt, abstract landscape, signed. Watercolours. 30x48cm approx. Framed and glazed. Also, Coloured ornithological engraving depicting male and female blackbirds at their nest. 44x28cm approx. Washed lime mount and glazed frame. Along with Peter Toms, 'Alongside', signed. Watercolours. 21x27cm approx. Framed and glazed. (3) (B.P. 21% + VAT)We are not able to post these items, we suggest Mailbox. There are no obvious signs of damage.
Lot 384
EDWARD H ROGERS (BRITISH, 1911-1994)Reclining Figuresigned and dated 'EH Rogers 15/10/58' (on mount), further signed, titled, dated and numbered '230' twice (on reverse of mount)pencil and watercolour on paper8.5 x 13cmtogether with 'Abstract Composition', signed, titled, dated and numbered 'EH Rogers, 7/11/58 234' (on mount verso); and 'Abstract Design' signed, titled, dated and numbered 'EH Rogers, 12/6/58 135' (on mount verso), by the same hand(unframed)(3)ARRCondition reportall three sheets have been stuck into backing paper along the top edge. Trace of a horizontal crease to the portrait-shaped work, otherwise all in good condition with strong colour.
Lot 425
DAVID PERETZ (FRENCH, 1906-1982) (2)Untitled, Abstract composition signed, inscribed and dated in ink 'pour Sophie Peretz 62' (lower left) and inscribed 'preuve d'Artiste' (lower right) print in colours 46 x 55cm together with an etching in colours by the same hand, Untitled, landscape with moon, signed, inscribed and dated in pencil '1974' (in lower margin), 57 x 44cm (2) ARR
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