Attention! Start session for bidding for this lot.
Obra: House of Vice Fotografía en Tirada limitada: 5/10 Año: 2016 Dimensiones: 42 x 56cm Papel: Fine Art Baryta Hahnemühle, acabado extra brillante Firmada, numerada y acompañada de certificado de autenticidad Incluye guantes de algodón y postal firmada Envío en sobre rígido o tubo, según destino Premios: • Medalla de Oro en Motiva Photo.Art.Circuit (categoría Autorretrato) • Finalista en Vision Excellence Awards (categoría Fine Art) SOBRE LA OBRA: House of Vice es un autorretrato que reinterpreta el universo de Alicia en el País de las Maravillas desde una óptica barroca y decadente, inspirada en la estética del Rococó y en obras clásicas como Las Meninas de Velázquez. La protagonista —oculta tras una máscara de conejo negro— irrumpe en una estancia aristocrática con las paredes y techos ricamente ornamentados, como si se tratase de una madriguera palaciega. Su voluminoso vestido de tul desgarrado parece brotar del propio suelo, entre hiedras y hojas que invaden el espacio, difuminando los límites entre lo natural y lo artificial, entre lo real y lo onírico. La obra plantea una visión alternativa del famoso descenso de Alicia: en lugar de una caída al vacío, se nos presenta una aparición teatral dentro de un espacio suspendido en el tiempo. La figura se convierte en símbolo de deseo, misterio e insumisión, fusionando referencias al arte clásico con un imaginario contemporáneo cargado de simbolismo y crítica. SOBRE LA ARTISTA: Lídia Vives (España, 1991) es fotógrafa y artista visual con base en Barcelona. Su obra ha sido publicada en medios como Esquire y Vogue Italia, y ha sido expuesta internacionalmente en museos y galerías de renombre, incluyendo el Louvre (París) y la Saatchi Gallery (Londres). Desde 2013 ha participado en múltiples ferias internacionales, como la Affordable Art Fair y la Art Fair Daegu, y ha sido reconocida con numerosos premios. Su lenguaje visual combina lo pictórico, lo simbólico y lo teatral, en composiciones cuidadosamente elaboradas que a menudo incluyen autorretratos y pequeños elementos ocultos (easter eggs), invitando al espectador a descubrir nuevas capas de significado.
Antonio Beneyto. Ink and color drawing on paper. Surrealism. Unsigned. 20x12 cm.
Federico Tormo Monzó. Ink drawing. 17x24 cm. Valencia C.F. "Valencia's fourth goal disallowed." 1940s. Good condition. Hand-signed. 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.
Raul Capitani. Engraving “Vora la mar”. Francesc Galí 1993. Hand signed. Numbered 11/30. 30x30 cm. Artist proof.
MUZ-MARTINEZ, INNOCENCE, 2026 ACRYLIC ON CANVAS 61X50 The Artwork presents a female figure with a childlike appearance, suspended between innocence and unsettling, transformed into the symbolic axis of a dense and emotional atmosphere. Muz-Martínez constructs the image from a deliberately fragile, almost spectral, figuration, which is strained by a textured background where color and texture act as memory, wound, and accumulated time. The use of deep reds and dark glazes envelops the figure in a psychological rather than a physical space, suggesting an inner narrative laden with ambiguity. The dress, treated with drips and impasto, seems to dissolve, as if identity itself were in a process of decomposition or transformation. The small presence of the red heart on the chest functions as an emotional anchor point, a heartbeat that resists the pictorial chaos that surrounds it. The Artwork does not seek complacent beauty, but rather a poetics of vulnerability, where childhood becomes a metaphor for the essential, the exposed, and the irretrievable. It is a painting that challenges through silence, forcing the viewer to confront their own emotional memory.
Carlos Enrique Lencinas Gómez. Watercolor on paper. “Female Nude and Vase of Flowers.” Hand-signed. 30 x 23 cm. Carlos Enrique Lencinas Gómez (1937–2018). Spanish illustrator and cartoonist, credited with several covers of the so-called "penny paperbacks" (bolsilibros) for various Bruguera publishing houses, and as the graphic artist for the Hardy Boys series in the Historias Selección series, also for the same publisher.
SubastaReal is a portal of the company Open Auctions S.L.
CIF: B66516378
Travessera de les Corts, 354 2-4
08029, Barcelona
902014040
info@subastareal.es
Subscribe to our newsletter and get all the news.
