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Author: Alexander Calder (1898-1976). Description: Original unsigned lithograph. It belongs to the magazine Derriere le miroir no. 195, published in December 1971 by Maeght Editeurs, Paris. Dimensions without frame: 28 x 38 cm. ArtArtwork in good condition.
Author: Alexander Calder (1898-1976). Description: Original unsigned lithograph. It belongs to the magazine Derriere le miroir no. 156, published in June 1966 by Maeght Editeurs, Paris. Dimensions without frame: 28 x 38 cm. ArtArtwork in good condition.
Federico Tormo Monzó. Ink drawing of Valencia C.F. 1940s. Football. "Eizaguirre, Puchades, Monzó, and Álvaro." Hand-signed. 23 x 16 cm. With a drawing on the back. Excellent Valencian draftsman and caricaturist. Federico Tormo Monzó was born in Pinoso on April 15, 1890, and died in Valencia on September 12, 1971. He moved from his hometown to Valencia at the age of 17, where he settled and studied under Ricardo Verde. Although he had already won first prize for posters advertising the July Fair in 1927, and also received other awards in Granada, his first steps in Valencia were as an illustrator for the sports section of the newspaper "Las Provincias" between 1931 and 1935. He produced series of caricatures of renowned footballers and boxers, directors of Valencian clubs, journalists, and practitioners of other fashionable sports, such as greyhound racing. He stood out for his skill with the pencil when sketching sporting events, which were published regularly. He sometimes signed his drawings with the pseudonym "Motor," which appears in some of his caricatures. But he didn't limit himself to sports, as he also excelled in his drawings related to bullfighting, caricaturing bullfighters of the stature of Marcial Lalanda, Félix Rodríguez, Vicente Barrera, and Domingo Ortega. Figures from Valencian culture, such as musicians and writers, were also portrayed by Tormo Monzó in his distinctive style. After the Civil War, the artist continued drawing, alternating between caricature and painting, capturing the landscapes of the cities he visited, such as Granada, Bilbao, and Zaragoza, in addition to Valencia. He held numerous solo exhibitions throughout his life, both in Valencia and elsewhere in Spain, and several of his paintings are held in collections abroad, including one in Winston Churchill's private collection. The painter's style was followed by his only student, José Agustí García, who knew his Artwork and shared his studio for over 25 years.
Federico Tormo Monzó. Ink drawing of Valencia C.F. 1940s. Football. Hand-signed. 23x16cm. "Pérez, Eizaguirre". Excellent Valencian draftsman and caricaturist. Federico Tormo Monzó was born in Pinoso on April 15, 1890, and died in Valencia on September 12, 1971. He moved from his hometown to Valencia at the age of 17, where he settled, studying under Ricardo Verde. Although he won first prize for posters advertising the July Fair in 1927, and also received other awards in Granada, his first steps in Valencia were as an illustrator for the sports section of the newspaper "Las Provincias" between 1931 and 1935. He produced series of caricatures of renowned footballers and boxers, directors of Valencian clubs, journalists, and practitioners of other fashionable sports, such as greyhound racing. He stood out for his skill with the pencil when sketching sporting events, which were published regularly. He sometimes signed his drawings with the pseudonym "Motor," which appears in some of his caricatures. But he didn't limit himself to sports; he also excelled at drawings related to bullfighting, caricaturing bullfighters of the stature of Marcial Lalanda, Félix Rodríguez, Vicente Barrera, and Domingo Ortega. Figures from Valencian culture, such as musicians and writers, were also portrayed by Tormo Monzó in his distinctive style. After the Civil War, the artist continued drawing, alternating between caricature and painting, capturing the landscapes of the cities he visited, such as Granada, Bilbao, and Zaragoza, in addition to Valencia. He held numerous solo exhibitions throughout his life, both in Valencia and elsewhere in Spain, and several of his paintings are held abroad, including one in Winston Churchill's private collection. The painter's style was followed by his only student, José Agustí García, who knew his Artwork and shared his studio for over 25 years.
Carlos Enrique Lencinas Gómez. Watercolor and ink on paper. “Palace of Baena. New Seville.” Hand-signed. 22 x 16.5 cm. Carlos Enrique Lencinas Gómez (1937–2018). Spanish illustrator and cartoonist, credited with several covers of the so-called "penny novels" (pocket books) for various Bruguera publishing houses, and as the graphic author of the Hardy Boys series, part of the Historias Selección series, also for the same publisher.
María Moreno, "Marilyn's Shadow" Technique: Charcoal on paper Original drawing, heavyweight paper, 2026 Support: DIN A3 paper Signed Subject: Portrait Charcoal portrait worked with precise contrast that models Marilyn Monroe's face with depth and delicacy. Creating an intimate and cinematic atmosphere. The softness of the charcoal envelops the figure in a timeless aura, revealing both the iconic strength and the vulnerability that made her eternal.
The Artwork presents a contemporary and expressive interpretation of cave art. At the center of the composition appears a mammoth surrounded by small human figures, evoking a hunting scene and one of humanity's earliest visual narratives. The painted surface combines ochre, brown, green, gray, black, and red tones, creating an earthy atmosphere reminiscent of cave walls. The various signs, hands, lines, schematic figures, and symbols distributed throughout the composition function as a kind of primitive language. Beyond the representation of a prehistoric scene, the Artwork proposes a reflection on a profoundly human need: the need to leave a mark and transmit a story. The mammoth occupies the center of the composition as a symbol of the power of nature, while the small human figures represent humankind confronting a still unknown world. The signs and hands that appear around it can be understood as a metaphor for humankind's first attempts to communicate, remember, and endure. The brushstrokes are deliberately spontaneous and expressive. The artist combines recognizable forms with gestural elements and textures that lend the Artwork a naive, primitive, and contemporary character. The piece invites the viewer to imagine the story behind the image. It is not an archaeological reproduction, but rather an artistic reinterpretation of the language of cave art from a contemporary perspective. An original Artwork with a unique aesthetic, especially interesting for collectors of contemporary art, naive art, and Artworks of symbolic and primitive inspiration.
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