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Autor: Joan Miró (1893-1983). Título: El Pi de Formentor (1976). Descripción: Litografía creada en 1976 por Joan Miró para la exposición llevada a cabo en la Galería 4 Gats de Palma de Mallorca entre Junio y Julio de ese mismo año. En esta muestra se presentó en la isla el libro “El Pi de Formentor” editado por la galería Gaspar de Barcelona, que comprendía el texto de Miquel Costa i Llobera y cinco poemas de Salvador Espriu, acompañados por cinco grabados de Miró. La litografía está firmada a lápiz en la parte inferior derecha, y en la izquierda incluye la inscripción PA que demuestra que es una prueba de artista, es decir que corresponde a la comprobación de la imagen definitiva. Además es una estampa “avant la lettre”, de esta manera es la imagen utilizada como cartel en la que después se incluyó el texto con los detalles de la exposición. Es una imagen sin narración, contiene un animal propio del imaginario surrealista de Miró que sujeta un cartel donde puede leerse “Galería 4 Gats” y alrededor están escritos los nombres de Miró, Espriu y el título del poema de Costa i Llobera. Los colores utilizados son puros y están delimitados por una línea de contorno negra muy gruesa que consigue realzar los colores contenidos, técnica recurrente en la obra de Miró. Certificada por la Fundación Juan Miró al dorso de la litografía y en documento adjunto. Las medidas sin marco son de 81,5x58 cm. Obra enmarcada y en excelentes condiciones.
Joan Miró. Original lithograph IX, part of the Miró Lithographer Volume II series. Print run: 5000 copies. Dimensions: 34 x 52 cm. In good condition, with a central fold mark.
Author: Joan Miró. Title: Miró Sculptures II, 1974. Description: Signed lithograph on an unnumbered plate. Published by Maeht Editeur, Paris. Printed by Arte Adrien Maeght, Paris. Reference Cramer 181. Unframed dimensions: 27.8 x 56.5 cm. Artwork in good condition.
"Barcelona 64" is a contemporary Artwork created by Joan Miro in 1964. Colored lithograph. Hand signed on the lower right margin. Numbered PA (artist's proof). This copy belongs to the "avant la lettre" print run of the Sala Gaspar exhibition, Metras and Belarte galleries, published by Sala Gaspar (Barcelona). Reference: Sala Gaspar Graphic Artworks Catalogue 1970 with number 099. Reference: Miró Lithograph I | number 355. Unframed dimensions: 100x70 cm. Artwork in good condition with signs of age. Careful and insured shipping.
Author: Joan Miró. Title: Poster for the exhibition "Les essències de la terra" (1968). Description: Lithographic poster for the exhibition "Les essències de la terra" held at the Sala Gaspar in Barcelona in October 1968. Numbered 108/1000. Published by Sala Gaspar. Sala Gaspar watermark on the paper. Dimensions without frame: 77 x 55 cm. In good condition with signs of age.
JOAN MIRÓ (Barcelona, Spain, 1893 - Palma de Mallorca, Spain, 1983). Miró, The Tarragona Tapestry, 1970. Signed in the plate with monogram. Lithograph, H.C. Published by Sala Gaspar, Barcelona. Published in Joan Miró. Lithographer. Vol. IV. 1972 - 1975, number 685. Measures 38 x 55 cm. Artwork in good condition.
53x30 cm Signed on the back in pencil Certificate of authenticity MOMOKO I/XXX (Paris, 1965) Photographer Specialized in images, MOMOKO is an artistic photographer. His work is characterized by the pictorial atmosphere, the handling of color, framing, light, speed and abstract character, are his greatest interest when creating an image not only with the technical effect, but also the anecdotal, will it be or will it not be. He is interested in people interpreting his photograph, creating doubt and mystery. This makes the viewer feel compelled to look at it for a while and delve into the textures. The idea is to make it disturbing, to make it seem as if the print will start to move at any moment, creating figures that only the first-person viewer will be able to identify. He makes it clear that it is not only a photograph, but that it can be interpreted as a frame from his imagination. He likes to use mixed, simple, direct and manual techniques, no digital process. He uses baryta paper, mainly used in black and white photography. Virgili also adapted it to color, giving it his personal touch, eliminating the polyethylene from normal paper and using a barium sulfate coating (barite), which gives the coating a natural shine. Exhibitions (selection): 1992 Église du parc. Fontenay aux Roses 1998 Ateneu Cadaques (Collective) 2002 La Salle de Jean Pierre Lanvallay Bretagne (Collective) 2012 Vilopriu Castle Vilopriu Girona 2013 La Salle le Stop de Toni Paris (Collective) 2014 La sala de les Rambles del Poble Nou Barcelona 2015 Galleria Sky Barcelona-2016 Gallery RRLuxury C. Town
Photograph from a new Monochrom series, titled "Movie Window Displays." Immersing himself with the lens, he creates a journey immersed in the window display, seeking to create a cinematic journey through time, creating nods to past cinematic reflections. 45 x 30 cm, hand-signed, certificate of authenticity. Momoko@Virgili I/XXX Virgili is an artistic photographer with his roots in the world of feature films, having Artworked as a cameraman with directors such as Bigas Luna, Carlos Saura, Fernando Trueba, and others. His Artwork is characterized by a pictorial atmosphere, the use of color, framing, light, speed, and abstraction. These are his main interests when creating an image, not only with the technical effect but also the anecdotal, the will-it-be-won't-it-be-won't-it. He is interested in people interpreting his photography, creating doubt and mystery. This compels the viewer to look at it for a while and delve into the textures. The idea is to make it unsettling, to make it seem as if the print will start moving at any moment, creating figures that only the first-person viewer will be able to identify. It makes it clear that it's not just a photograph, but that the viewer can interpret it as a frame from their imagination. The technique he prefers to use for his photographic Artworks: mixed, simple, direct, and manual, without any digital process with the baryta paper used primarily in black and white photography.
53 x 30 cm. Girona quan el temps satura. Signed on the back in pencil, certificate of authenticity MOMOKO IXXX (Paris, 1965). A photographer specializing in images, MOMOKO is an artistic photographer. His work is characterized by the pictorial atmosphere, the handling of color, framing, light, speed and abstract character, these are his greatest interest when creating an image, not only with the technical effect, but also the anecdotal, he will be or he will not be. He is interested in people interpreting his photograph, creating doubt and mystery. This makes the viewer feel compelled to look at it for a while and delve into the textures. The idea is for it to be disturbing, to seem as if the print will start to move at any moment, creating figures that only the first-person viewer will be able to identify. He makes it clear that it is not only a photograph, but that it can be interpreted as a frame from his imagination. He likes to use mixed, simple, direct and manual techniques, without any digital process. He uses baryta paper, mainly used in black and white photography. Virgili also adapts it to color, giving it his personal touch, eliminating the polyethylene from normal paper and using a barium sulfate coating (barite), which gives the coating a natural shine. Exhibitions (selection): 1992 Église du parc. Fontenay aux Roses 1998 Ateneu Cadaques (Collective) 2002 La Salle de Jean Pierre Lanvallay Bretagne (Collective) 2012 Vilopriu Castle, Vilopriu, Girona 2013 La Salle le Stop, by Toni Paris (Collective) 2014 La sala de les Rambles del Poble Nou, Barcelona 2015 Galleria Sky Barcelona - 2016 Gallery RRLuxury C. Town
30 x 30 cm. By immersing himself in the scene with his lens, he creates a journey within the shop window, seeking that cinematic voyage through time, creating parallel worlds, accompanying natural light and its shadows, blending them with reflections and real elements to achieve this parallelism. Signed on the reverse in pencil, certificate of authenticity MOMOKO I/XXX (Paris, 1965). A photographer specializing in imagery, MOMOKO is an artistic photographer. His work is characterized by a painterly atmosphere; his handling of color, framing, light, speed, and abstraction are his primary interests when creating an image, not only with the technical effect but also the anecdotal one—it will be, or it won't be. He is interested in people interpreting his photographs, creating doubt and mystery. This compels the viewer to look at it for a while and delve into the textures. The idea is to create a sense of unease, to make it seem as if the print might begin to move at any moment, creating figures that only the viewer in person can identify. He makes it clear that it is not just a photograph, but that it can be interpreted as a frame from his imagination. He likes to use mixed techniques—simple, direct, and manual—no digital processes. He uses baryta paper, primarily used in black and white photography. Virgili also adapts it to color, giving it his personal touch by removing the polyethylene from regular paper and using a barium sulfate coating, "baryta," which gives the coating a natural sheen. Exhibitions (selection): 1992 Église du parc. Fontenay auxRoses 1998 Ateneu Cadaques (Collective) 2002 La Salle by Jean Pierre Lanvallay Bretagne (Collective) 2012 Vilopriu Castle Vilopriu Girona 2013 La Salle le Stop by Toni Paris (Collective) 2014 La sala de les Rambles del Poble Nou Barcelona 2015 Galleria Sky Barcelona-2016 Gallery RRLuxury C. Town
53 x 30 cm. By immersing himself in the scene with his lens, he creates a journey within the shop window, seeking that cinematic voyage through time, creating parallel worlds, accompanying natural light and its shadows, blending them with reflections and real elements to achieve this parallelism. Signed on the reverse in pencil, certificate of authenticity MOMOKO I/XXX (Paris, 1965). A photographer specializing in imagery, MOMOKO is an artistic photographer. His work is characterized by a painterly atmosphere; his handling of color, framing, light, speed, and abstraction are his primary interests when creating an image, not only with the technical effect but also the anecdotal one—it will be, or it won't be. He is interested in people interpreting his photographs, creating doubt and mystery. This compels the viewer to look at it for a while and delve into the textures. The idea is to create a sense of unease, to make it seem as if the print might begin to move at any moment, creating figures that only the viewer in person can identify. He makes it clear that it is not just a photograph, but that it can be interpreted as a frame from his imagination. He likes to use mixed techniques—simple, direct, and manual—no digital processes. He uses baryta paper, primarily used in black and white photography. Virgili also adapts it to color, giving it his personal touch by removing the polyethylene from regular paper and using a barium sulfate coating, "baryta," which gives the coating a natural sheen. Exhibitions (selection): 1992 Église du parc. Fontenay auxRoses 1998 Ateneu Cadaques (Collective) 2002 La Salle by Jean Pierre Lanvallay Bretagne (Collective) 2012 Vilopriu Castle Vilopriu Girona 2013 La Salle le Stop by Toni Paris (Collective) 2014 La sala de les Rambles del Poble Nou Barcelona 2015 Galleria Sky Barcelona-2016 Gallery RRLuxury C. Town
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CIF: B66516378
Travessera de les Corts, 354 2-4
08029, Barcelona
902014040
info@subastareal.es
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