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Lot 569
PICASSO. 'Le Gôut du Bonheur', a suite of happy, playful & erotic drawings. The complete set of 35 reproductions of Picasso's drawings, lithographs & screen prints on paper. The boxed album published by Harry N. Abrams Inc., New York. This album with Abrams No.64 of 666. The recreations in this album were printed in the Fall of 1970 in the studio of Guenther Dietz, Munich, under the personal supervision of Pablo Picasso. (Inscribed as a gift on the title page). Box size, 34x27.5x6cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 1245
Pablo Picasso (1881-1973) Lithograph "Harlequin" signed in the stone. ca 1950. Pablo Picasso, a great draftsman and master of the line, expressed "the graphic arts are...my favorite medium of expression." The process of printmaking requires a balance of mastery and inventiveness, of which Picasso possessed both. He was imaginative with the use of traditional methods and was able to coax out new and inventive techniques to further his artistic intent in printmaking. Overall size: 34 x 26 in. Sight size: 31 1/2 x 23 1/2 in.
Lot 1246
Pablo Picasso - Three Musicians. Pablo Picasso, a great draftsman and master of the line, expressed "the graphic arts are...my favorite medium of expression." The process of printmaking requires a balance of mastery and inventiveness, of which Picasso possessed both. He was imaginative with the use of traditional methods and was able to coax out new and inventive techniques to further his artistic intent in printmaking. Overall size: 33 1/2 x 25 1/4 in. Sight size: 27 3/4 x 20 in.
Lot 1247
Georges Braque, Vintage Lithograph, signed. Georges Braque was born on May 13, 1882 in Argenteuil, France, where his parents ran a paint shop. He was brought up in Le Havre. His father was a house painter at that time, and he encouraged the boy's attempts to draw. Georges also took music lessons from Raoul Dufy's flutist brother, Pierre, which resulted in Braque's continuous love of music; he played several instruments. Braque with Picasso was one of the founders of Cubism- that style of painting which became the dominant style for the first half of the 20th century. The twenty-five year old Braque visited the twenty-six year old Picasso in his studio in November 1907. There he saw the huge and shocking Les Demoiselles d'Avignon. Braque's responded: "It is as if someone had drunk kerosene to spit fire." Braque was called the moon to Picasso's sun in their partnership. Picasso had a healthy head start but after setting up in L'Estaque in the south of France during the summer of 1908, Braque took the lead. He solidified and refined cubism's multiple viewpoints and spacial ambiguity. The collaboration then began in earnest. Overall size: 24 x 29 1/2 in. Sight size: 16 1/4 x 22 in.
Lot 810b
Exquisite ethereal portrait of a gamine young woman wearing a hat. Watercolor on paper, signed mid-left. Hinge-mounted in mat. Marie Laurencin, intimate of Braque, Picasso, Matisse and Appollinaire, held a celebrated place in the early part of the 20th century during a period when Art exploded with genius. She lived in the Montmartre District of Paris and became part of the circle revolving around the Steins. Though her early portraits show the imprint of the Fauves and Cubists, her romantic and delicate temperament asserted itself against these schools. She was prim, conservative and always wore a kitchen apron when she painted. She had a celebrated love affair with Guilliame Appollinaire, great French modern critic, but was never able to marry him because of demands of her domineering mother. Called the 'muse' by her fellow painters, her works are loved for their fragile beauty. Though they may be feminine in subject and execution, the distortion of form and the simplicity of expression mark her for a Modern Master. Laurencin painted girls in all kinds of poses and all had her personal mark, smooth young faces, pale skin and dark eyes. Her early work was not easily accepted; it showed the influence of Toulouse-Lautrec and of cubism. World War I took her out of the Paris circle for a while; she married a German painter, Otto von Waetjen, and they were forced to leave France. They lived in Spain, then she got a divorce and returned to Paris. In her later years, she became almost a hermit, although mothers with daughters in tow still came to her. Marie Laurencin died in Paris in 1956; she was buried in a white dress holding a rose in one hand and a love letter from Guillaume Apollinaire in the other. Overall Size: 17 1/2 x 13 1/4 in. Sight Size: 10 3/4 x 7 in.
Lot 983
Salvador Dali (1904-1989), Spain, Print. Titled "Metamorphosis of Narcissus" on the bottom. Metamorphosis of Narcissus was originally titled "Metamorphose de Narcisse: and is from his paranoiac-critical period and depicts his interpretation of the Greek myth of Narcissus. Bottom says Salvador Dali | Metamorphosis of Narcissus. Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 25 x 31 1/2 in. Sight size: 17 1/4 x 26 1/2 in.
Lot 985
Framed print titled "L' Apotheose D' Homer" by Salvador Dali. Signature printed on bottom center. Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 24 1/2 x 32 1/2 in. Sight size: 15 x 27 1/2 in.
Lot 986
Salvador Dali (1904-1989), Spain, Print titled "Saint Jacques". Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 32 3/8 x 24 1/2 in. Sight size: 26 1/2 x 20 in.
Lot 987
Framed poster of Christ on the cross by Salvador Dali. Words on the bottom say Christ of St. John of the Cross, Salvador Dali, Huntington Graphics, Inc. Salvador Dali was born May 11, 1904 in Figueres, Spain. From an early age Dali was encouraged to practice his art and would eventually go on to study at an academy in Madrid. In the 1920's Dali went to Paris and began interacting with Picasso, Magritte, and Miro leading to his first Surrealist phase. The rise of the fascist leader Franco in Spain led to Dali's expulsion from the Surrealist movement, but that did not prevent him from painting. Overall size: 31 x 24 3/4 in. Sight size: 27 1/2 x 15 1/2 in.
Lot 98
After Pablo Picasso (1881-1973) Spanish “Cote d’Azur” (1962)Lithographic poster, together with a further lithograph after the artist “Rider and Model” from “La Comedie Humaine”, 100cm by 66cm and 26cm by 34cm respectively (2) (unframed)“Cote d’Azur”Slight tine staining to the paper. A number of handling creases, especially to the top edge. The left edge is quite tatty with creases and a number of small tears all to the outer edge. The right edge also has a few small tears. The work has probably been rolled at some point. “La Comedie Humaine”Time staining to the paper, especially to the outer edges. Small crease lower left corner. Shadow where the old mount has been. The odd sporadic small sized foxing spot in evidence. Brown marks in places, especially above her hat upper left corner, to the top and lower left corners, below the horse. etc.
Lot 151
Property of a Gentleman Gen Paul ('Eugene Paul') (1895 - 1975) Le Violiniste Mixed media on paper Signed (lowered right) 14/25 Dimensions: (Paper) 16 in. (H) x 12 in. (W) (Frame) 29.5 in. (H) x 24.5 in. (W) Gen Paul, as he was universally known, was one of the most perceptive, challenging, and striking artists to emerge in France after the First World War. Crippled during the war, he turned to art. His work references Goya, Picasso, and sometimes DalÃ. From an edition of 25.
Lot 8
MANOLO VALDÉS (Valencia, 1942).Rug designed by the artist.Virgin wool. 100% pure. Exemplary 115/125.With traces of label on the back.Needs cleaning.It has a handwritten signature.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 170 x 240 cm.During his career, Manolo Valdés has made exclusive designs for the production of carpets, even collaborating with the Royal Tapestry Factory. In this particular case, the carpet, which belongs to a series of 125 examples, has the design of the Valencian artist, recreated in virgin wool. The piece has the personal and irreverent style of Valdés, who reinterprets myths, approaching figures such as Picasso and Velázquez, which in this work are evident through the figure of the Menina. Although the composition and aesthetics are close to Paul Klee's "Dances out of fear".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 2nd 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, and the medal of the International Festival of Fine Arts in Paris, 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.
Lot 93
ALEXANDRE FASINI (Ukraine, 1893-1942).Untitled, 1921.Gouache on paper.Rust stains on the paper.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 34 x 27 cm; 53 x 45 cm (frame).Fasini spent his childhood in Odessa and attended the Academy of Fine Arts, where he was taught by Kiriak Kostandi, an Impressionist painter of Greek origin. He befriended the painter Philippe Hosiasson and the writer Isaac Babel, and drew illustrations for Odessa newspapers, including Bomba and Iablstchko, and in 1922 he travelled to France on a Soviet ship and took up residence in rue Daru in Montparnasse. During the 1920s in Paris, he began working with the Galerie d'Art Vavin, which in turn held exhibitions of artists such as Picasso.
Lot 94
ALEXANDRE FASINI (Ukraine, 1893-1942).Untitled, 1928.Gouache on paper.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 37 x 26 cm; 53 x 45 cm (frame).Fasini spent his childhood in Odessa and attended the Academy of Fine Arts, where he was taught by Kiriak Kostandi, an Impressionist painter of Greek origin. He befriended the painter Philippe Hosiasson and the writer Isaac Babel, and drew illustrations for Odessa newspapers, including Bomba and Iablstchko, and in 1922 he travelled to France on a Soviet ship and took up residence in rue Daru in Montparnasse.During the 1920s in Paris, he began working with the Galerie d'Art Vavin, which itself held exhibitions of artists such as Picasso.
Lot 95
ALEXANDRE FASINI (1892-1942)"Woman indoors", 1928.Gouache on paper.Signed and dated lower right.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 26 x 35 cm; 45 x 53 cm (frame).Alexandre Fasini, became a painter and writer who died. Fasini spent his childhood in Odessa. He attended the School of Fine Arts and took classes taught by the Greek Impressionist painter Kiriak Kostandi. He became friends with the painter Philippe Hosiasson and the writer Isaac Babel, and did illustrations for a number of Odessa newspapers, including Bomba and Iablstchko. He arrived in France on board a Soviet ship in 1922 and settled in rue Daru. Fasini's painting was on the fringes of abstraction and Surrealism. He wanted his work to reflect a new experience, which would give him an original position within the School of Paris. He became quite famous in the years 1920-1925. Max Berger, owner of the Galerie Vavin, exhibited his work for two years alongside paintings by Jean Lurçat, Pablo Picasso and Georges Papazoff. Alexandre Fasini collected primitive art. He also devoted himself to photography and furniture making. During the Occupation, he continued to paint. His friends and family advised him to go to the Free Zone but he was too distressed to do so.
Lot 12
MANUEL ÁNGELES ORTIZ (Jaén, 1895 - Paris, 1984).Untitled.Mixed media on paper.Signed in the lower left corner.Presents a dry stamp in the lower left corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 61 x 44 cm; 87 x 72 cm (frame).Representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a group exhibition, receiving very good reviews in the local press. At the same time, he began to produce drawings for various publications. In the early 1920s, following the death of his wife, the painter moved to Paris. There he painted frenetically, with Picasso as his main supporter and first enthusiast. His painting abandoned cubic forms to focus on fully dreamlike images, which he presented in Paris in his first one-man show, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to take refuge in France once again at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated into the artistic scene and lived until 1948, when he returned to Paris for good. He is currently represented in the Museo Nacional Reina Sofía in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Museo de Arte Contemporáneo in Seville, the Museo de Bellas Artes in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera gallery in Cologne, among other public and private collections.
Lot 13
MANUEL ÁNGELES ORTIZ (Jaén, 1895 - Paris, 1984)."Albaicín".Pencil on paper.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 99,5 x 65 cm; 77 x 94 cm (frame).In this specific case the artist recreates the narrow streets of the Albaicín, thanks to the use of geometrical structures that form the buildings, in spite of the apparent order there is a certain chaos that brings a certain dynamism to the scene. This use of geometric structures, which in a conceptual way represent the architecture of the Albaicín, was recurrent in the work of Manuel Ángeles Ortiz, in fact, an example can be seen in the Museo Nacional Centro de Arte Reina Sofía, whose collection has a painting of the same title and year. In 1957 Manuel Ángeles Ortiz returned to Granada and in a new contact with the landscape and culture of the city, a year later he decided to undertake an artistic series that would last until the 1970s. This series, called Albaicín, brought together a large number of works conceived in different media such as paper or cardboard, and portrayed the mythical quarter through the use of a wide panoramic view and different lighting approaches. A representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a group exhibition, receiving very good reviews in the local press. At the same time, he began to produce drawings for various publications. In the early 1920s, following the death of his wife, the painter moved to Paris. There he painted frenetically, with Picasso as his main supporter and first enthusiast. His painting abandoned cubic forms to focus on fully dreamlike images, which he presented in Paris in his first one-man show, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to take refuge in France once again at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated into the artistic scene and lived until 1948, when he returned to Paris for good. He is currently represented in the Museo Nacional Reina Sofía in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Museo de Arte Contemporáneo in Seville, the Museo de Bellas Artes in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera gallery in Cologne, among other public and private collections.
Lot 14
MANUEL ÁNGELES ORTIZ (Jaén, 1895 - Paris, 1984)."Walk under the trees".Cut-out paper.Work reproduced in "Manuel Ángeles Ortiz. Homage Exhibition. Spanish Museum of Contemporary Art, 1980. Fig 132.Signed in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 61 x 47 cm; 90 x 74 cm (frame).A representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a group exhibition, receiving very good reviews in the local press. At the same time, he began to produce drawings for various publications. In the early 1920s, following the death of his wife, the painter moved to Paris. There he painted frenetically, with Picasso as his main supporter and first enthusiast. His painting abandoned cubic forms to focus on fully dreamlike images, which he presented in Paris in his first one-man show, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to take refuge in France once again at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated into the artistic scene and lived until 1948, when he returned to Paris for good. He is currently represented in the Museo Nacional Reina Sofía in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Museo de Arte Contemporáneo in Seville, the Museo de Bellas Artes in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera gallery in Cologne, among other public and private collections.
Lot 17
ABRAHAM LACALLE (Almería, 1962).Untitled, 1998.Watercolour, ink and pen on paper.Presents label of the Fúcares Gallery (Madrid).Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 65 x 50 cm; 67 x 52 cm (frame).Abraham Lacalle began his career in the 80's, in 1994 he won the scholarship of artistic promotion of the Casa de Velázquez. In his canvases there are references to great masters such as Duchamp, Picasso, Mondrian or Philip Guston, using a special subjectivity in the treatment of colour. In turn, there are ironic and sarcastic references to the great artistic and literary movements of the 20th century and an acid social criticism. The painter has been exhibiting in ARCO, through different galleries, since 1987 and has been collaborating for years with the Malborough Gallery. Works in collections: Museo Nacional Centro de Arte Reina Sofía, Madrid; Fundación Coca-Cola España; Fundación Luis Cernuda, Seville; Prosegur, Madrid; Fundación Santander Central Hispano; Universidad de Salamanca; Casa de Velázquez, Madrid; Colección Testimonio, Caixa de Pensiones, Barcelona...
Lot 18
ABRAHAM LACALLE (Almería, 1962).Untitled, 1998.Watercolour, Indian ink and pen on paper.With sticker of the Galería Fúcares (Madrid) on the back.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 65 x 50 cm; 67 x 52 cm (frame).Abraham Lacalle's painting is usually characterised by a multiplicity of elements, with contrasting tones of colour and shapes that create an apparently chaotic whole. However, in this case he resorts through synthetism to a single hybrid figure between the human and the vegetable. Black and white are used to combine a certain sobriety, but if we go deeper into the work we can appreciate the author's characteristic style. The multiplicity of forms, straight lines, dots, complete colour fields and the use of the biros are examples of this.Abraham Lacalle began his career in the 80's, in 1994 he won the scholarship for artistic promotion of the Casa de Velázquez. In his canvases there are references to great masters such as Duchamp, Picasso, Mondrian or Philip Guston, using a special subjectivity in the treatment of colour. In turn, there are ironic and sarcastic references to the great artistic and literary movements of the 20th century and an acid social criticism. The painter has been exhibiting in ARCO, through different galleries, since 1987 and has been collaborating for years with the Malborough Gallery. Works in collections: Museo Nacional Centro de Arte Reina Sofía, Madrid; Fundación Coca-Cola España; Fundación Luis Cernuda, Seville; Prosegur, Madrid; Fundación Santander Central Hispano; Universidad de Salamanca; Casa de Velázquez, Madrid; Colección Testimonio, Caixa de Pensiones, Barcelona...
Lot 19
HERNANDO VIÑES SOTO, (Paris, 1904 - 1993).Untitled, 1931.Watercolour on paper.Signed and dated in the lower left corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 31 x 24 cm; 44 x 52 cm (frame).Born into an upper-class bourgeois family, Viñes was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a pupil of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). In the early eighties, important retrospective exhibitions were held at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.
Lot 28
ABRAHAM LACALLE (Almería, 1962)."La huida", 2001.Oil on canvas.Presents a label of the Galería Fúcares (Madrid).Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 200 x 200 cm.The artist uses a language where the figuration is exposed in an indeterminate and unconnected way, which generates a necessary visual and intellectual exercise on the part of the spectator. To this end, he has incorporated different geometric elements in white on a compartmentalised space. These small pieces break with the symmetry of the piece and generate a dialogue that alludes to the coexistence between the simple and the complex.Abraham Lacalle began his career in the 1980s, and in 1994 he won a scholarship for artistic promotion from the Casa de Velázquez. In his canvases there are references to great masters such as Duchamp, Picasso, Mondrian or Philip Guston, using a special subjectivity in the treatment of colour. In turn, there are ironic and sarcastic references to the great artistic and literary movements of the 20th century and an acid social criticism. The painter has been exhibiting in ARCO, through different galleries, since 1987 and has been collaborating for years with the Malborough Gallery. Works in collections: Museo Nacional Centro de Arte Reina Sofía, Madrid; Fundación Coca-Cola España; Fundación Luis Cernuda, Sevilla; Prosegur, Madrid; Fundación Santander Central Hispano; Universidad de Salamanca; Casa de Velázquez, Madrid; Colección Testimonio, Caixa de Pensiones, Barcelona.
Lot 3
LUIS NEMESIO ANTÚNEZ ZAÑARTU (Santiago, 4 May 1918-ibidem, 19 May 1993),"Bedroom in Manhattan II", 1978.Oil on canvas.It has slight overpaints on the pictorial surface.With export stamp of the Directorate of Libraries and Museums of Santiago de Chile and Vicente Piera (Barcelona).Signed in the lower right corner. Signed, dated and located on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 130 x 89 cm.Nemesio Antúnez and Luisa Zañartu, was the eldest of three children, all of them dedicated to art. He attended high school at the Colegio de los Sagrados Corazones in Santiago. At the age of 17 he won first place in a French-speaking competition and won a trip to France, where he met Pablo Picasso, Juan Gris and Joan Miró. In 1938 he entered the school of architecture at the Pontificia Universidad Católica de Chile, where he graduated in 1941. At the age of 25 he presented his first solo watercolour exhibition at the Instituto de Cultura de Chile. Thanks to a Fulbright scholarship, he travelled to Columbia University in New York. After completing his master's degree in 1947, he began working in the Atelier 17 studio with Stanley William Hayter, who applied printmaking techniques to surrealist art. He worked with his brother Enrique to explore the possibilities of the old printmaking techniques of artists such as Yves Tanguy, Kurt Seligmann, Jacques Lipchitz and Joan Miró. In 1950, the French branch of Atelier 17 moved.
Lot 34
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Ink and pencil on card.Slight damage to the paper in the corners.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.A desolate face opens its mouth in an expression of pain, captured by a great technical handling of the artist who manipulates the brushstrokes in a horizontal way, and manages to capture the breathing of the protagonist. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 35
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura con sombrero y flor en la boca (Figure with a hat and flower in its mouth), 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.In this portrait we can appreciate a clear influence of the surrealist movement where the forms have been reinterpreted by the artist in a free way without abandoning the figuration. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 36
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 37
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the central area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 38
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 110
δ Pablo Picasso (1881-1973)Peintre entre Deux Modèles, from Le Chef-d'Oeuvre Inconnu (Bloch 83; Cramer 20)Etching, 1927, signed in bistre, numbered from the edition of 99, printed by Louis Fort, published by Ambrose Vollard, Paris, on van Gelder holland paper, with full margins, sheet 380 x 497mm (15 x 19 1/2in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 111
δ Pablo Picasso (1881-1973)Femme (Frontispiece for Picasso Oeuvres 1920-1926) (Bloch 56; Cramer 15)Etching, 1922-3, signed in pencil, from the edition of 50, published by Éditions Cahiers d'Art, Paris, on laid paper, with full margins, sheet 282 x 230mm (11 1/4 x 9in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 112
δ Pablo Picasso (1881-1973) Rembrandt à la palette (Bloch 208)Etching, 1934, signed in pencil, from the edition of 250 (there was also an edition of 50 with wider margins), 'as included in The Vollard Suite', published by Ambroise Vollard, Paris, on Montval laid paper, with the Montval and the Picasso watermarks, with full margins, sheet 445 x 337mm (17 1/2 x 13 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 113
** δ Pablo Picasso (1881-1973)Deux Femmes Nues (Bloch 132)Etching, 1930, signed in bistre, numbered from the edition of 125, published by Albert Skira, Paris, on Arches paper, with full margins, sheet 577 x 465mm (22 3/4 x 17 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Lot 114
δ Pablo Picasso (1881-1973)Colombe volant (à l'Arc en Ciel) (Bloch 712; Mourlot 214)Lithograph printed in colours, 1952, signed in pencil, numbered from the edition of 200, printed by Mourlot, Paris, on Arches paper, with full margins, sheet 550 x 760mm (29 7/8 x 21 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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