WORLD’S MODERN AND CONTEMPORARY ART MASTERS

It is startling to begin the year 2015 with an international show of such repute with big names in the art world practice such like Picasso, Delacroix, Manet, Matisse, Pollock, Warhol and many more. For the first time, a collection of modern and contemporary prints or graphical works being showcased in a large scale to the Malaysian public. Our efforts in strengthening relationship and networking with international collaborators have become fruitful. MAESTROS was worked on with the purpose not to just expose the Malaysian public to the works of international art masters but also to educate on the relevancy of print artworks in the world's history of art narrative. We have discovered that the knowledge and awareness on print artworks to be regarded at par with paintings and sculptures or other plastic art are still low in Malaysia. It is also an opportunity for the public to learn on the processes as well as technique that go behind print making and realize that it involves a painstaking skill to which it is honored as one of the finest forms of art.

Art awareness, appreciation and development of fine art in Malaysia are the key objectives of PETRONAS art involvement as good corporate citizens. Ultimately, PETRONAS hopes to contribute towards a contemporary and inclusive society. Since our inception in 1992, Galeri PETRONAS has worked in partnership with countries like China, Brunei, Italy, France, Finland, Indonesia, India, Germany, Japan, Australia, Beirut plus Pakistan and it is exciting to open our doors for the first time to our Spanish counterpart. Our gratitude to Mr. Fernando Diez, the Director of Arte 10 Collection for the enthusiasm and faith in touring the MAESTROS exhibition to Galeri PETRONAS and Malaysia.

Last but not least, Galeri PETRONAS is dedicated to work on future collaborations with other art institutions or collectors from various other countries in sharing many other international arts and culture artifacts. As one of the forerunning and dynamic corporate galleries in Malaysia, we are a proponent and committed to impart knowledge in the arts with the intention to enrich and elevate the public to become a well-informed and cultured global society. We believe that “Art is an effort to create, beside the real world, a more humane world- Andre Maurois (French author; 1885 -1967)”. Finally, we hoped this exhibition become a communication catalyst to further bridge the commonalities amidst the diversity among not just art aficionados but the Malaysian public collectively.

Rosli Abdul Rahim Director Galeri PETRONAS

Galeri PETRONAS and Arte 10 Collection.

MAESTROS or masters in World's Modern and Contemporary Art is brought to Malaysian spectators by Galeri PETRONAS and Arte 10 collection as an effort to foster cultural exchange, art appreciation and intercultural relationship in celebrating modern and contemporary arts and culture. This exhibition offers a visual arts feast for the general public while being open to curators, collectors and patrons alike. In addition to that, it is supported by a number of educational public and special programs.

Galeri PETRONAS has hosted 40 international exhibitions in the centre of Kuala Lumpur and is pleased to showcase the collection by Arte 10, which consists of renowned art masters. It is also an opportunity to further discover the thrilling compendium of knowledge in the repertoire of original graphical works gathered by Arte 10 Collection.

Arte 10 collection is an endeavor gathered by Dr. Fernando Diez, an aesthetic physician in Madrid as well as an art collector. Arte 10 collection operates a gallery near the Museo Nacional Centro de Arte Reina Sofía and is within the vicinity of the library and other Spanish modern and contemporary art's liveliness. The gallery also hosts exhibitions, protect, document and produce literatures for more than 2,500 acquired works.

The collection of Arte 10 has travelled to Sejong Art Centre and Daegu GyeongBuk Design Centre in South Korea, León, Madrid as well as Russia. It will in the future tour Iran, Turkmenistan and Samara.

7 World's Modern and Contemporary Art Masters.

This exhibition showcases a collection of key graphical works, which puts together trends of modern and contemporary art within the international art landscape. There are 225 works by 76 masters, which have been selected from the Arte 10 collection. This group of masters has been selected not only for their contribution as graphical artists but also for their widespread perspective as painters or sculptors.

The exhibition features a selected group of artists from the 19th century, such as Eugene Delacroix, Edouard Manet, Odilon Redon, Camille Pissarro, Maurice Utrillo, Edouard Vuillard, and Henri Fatin-Latour. Modern artists in the exhibition include Henri Matisse, Leonard Foujita, Sonia Delaunay, Marie Laurencin, Henry Moore, Guillaume Cornelis van Beverloo Corneille, Serge Poliakoff, Piere Soulages, Bram Van Velde, and Zao Wou Ki. The American post-war artists in the repertoire are Jackson Pollock, Roy Lichtenstein, Andy Warhol, Jasper Johns, Robert Indiana and Sol Lewitt, while the Latin-American Artists include Roberto Matta, Wifredo Lam, Rufino Tamayo and Julio Le Parc. The key Spanish artists who represent Spanish modern and contemporary art history include Pablo Picasso, Jose Gutierrez Solana, Francisco Iturrino, Antoni Clave, Joan Miro, Antoni Tapies, Eduardo Chillida, Salvador Victoria, Eduardo Arroyo and Jaume Plensa.

The 203 prints include etchings, aquatints, dry tops, xylographs, lithographs, offsets and lito offsets, silk-screen printings, mixed techniques, water-colors, installation and painting as well as 22 artists' books. If not all encompassing, this exhibition exposes a glimpse of the art world from the period of symbolism and impressionism until the modern day.

All artworks are signed and numbered by the respective artists. Nevertheless, it exclude the artworks prior to 1900, in which the practice of signing was not yet well established. All of the artworks extracted from the collection of Arte 10, which consists of 2,500 titles of graphic works by 250 artists were accumulated for over the last 25 years. A good number of the artworks have been sealed by the erudite and respected dealer as well as graphical French editor; Henri M. Petiet (1894 – 1980). The end of the 18th century.

At the end of the 18th century, an amount of chalcography prints were bequeathed and became a discipline in the academia. The subject matter took centre stage at most art schools where the composition of the works were studied. With the further usage of light in printing production, the romantic artists were still focused on a few fixed values and pre-established canons as foundations of their art.

Although this notion marked the 18th century prints, gradually it paved the way for modern prints. The modern prints were realized to have aesthetic purposes with very different characteristics. The progress of science, industrialism and capitalism set aside the romantic ideals and instead reanimated the social function of art. The art became a reflection of the society, which modified towards modernity and towards a different way of life.

The changed society is represented in the artworks and it concentrated directly at the artists. Through this manner, the romantic ideals lose its importance. The works depict metaphysical values that remained relegated in favor of a new form of realism. The costumbrist thematic manner loses meaning before a new society who claimed other values and other more immediate and diffusive mediums such as the magazine and feuilleton. This new setting changed the vision of printing scene and gave rise to a

8 new form of expression. The print evolved as a document and source of information, leaving behind the amiability of the portraits of the 18th century. Realism developed through the cartoon and became a form of social protests. The immediacy and stability qualities found in the expression of graphical art offered a novelty in which other skills could not.

If we look into the realism and remonstration in the works by Delacroix or Fantin-Latour, one can observe that notions of classicism from the 18th century still persist in the composition and subject matter. This is comparable to the realism in the works of Chahine, in which he took personages to become his subjects.

Artistically, the end of 18th century manifests the impressionism style. Edouard Manet, whom is considered as the “First Modern” and the last classic painter embraced the printmaking techniques and produced a number of prints. Others like Pissarro who was influenced by the lithographer Georges William Thornley, Degas, Theo Van Gogh and others were proponents who contributed to the end of drawing the definite line. The taste of outdoor compositions and the effects of light are now obtained by lithography and etchings that demonstrate clearly the contrast of brightness and darkness.

The influence of the Japanese print, which became known in the west during this epoch, had a high level of influence on the impressionists. The graphical works of the impressionists were not very well known by the public due to the enormous popularity of their paintings. Nonetheless its importance is key in the development of poster art, especially in postimpressionism and the avant-garde. During this time, the freedom of expression by the artists and the emphasis on the abstract concept of art were born.

The change of the century witnessed a shift of the cultural centre to Paris, and the artists, who were mainly French or European, agglutinated to the French capital, as they were conscious of this important shift. Maximilien Luce, Utrillo, Vuillard, Legrand, Matisse and Picasso were a few of them.

The remnants of the impressionistic period allowed great artistic masters to evolve and the period further extended and resulted to move in parallel with other new movements. This postponed style is referred to as emitting symbolism, which in due time been well regarded in the world's history of art.

The truth is that both impressionism and symbolism were relevant in the art of the 19th century. It brought about two different reactions to Realism. The impressionistic tendencies manifested the exterior world while the symbolism recorded more interior settings. Munch, James Ensor and Odilon Redon produced the first few prints of these nature. These symbolic visions were replete of phantasmagorical elements that were accompanied with characters from the literature in the 19th century.

Dario de Regoyos, the companion of James Ensor was the one who introduced this vision in Spain and created the "black" epoch of prints in his home country. Jose Gutiérrez Solana and Iturrino, who could be regarded as tremendous, continued these “black” aesthetics by Regoyos and Baroja. These magnificent prints portrayed the poor surroundings of Spain, which are scenes of prostitutes or beggars. The prints adopted a less realistic approach in order to differentiate themselves from photography and aimed to be in the class of its own. This vision of the world in black and white combined with great technical mastery resonates resemblance in the prints created by Goya.

It was no longer a question of imitating nature, nor capturing impressionism, but of overcoming it. The idea was for art to supersede nature and divorce with impressionism. The result was the birth of poetical art, even music evolved and poets like

9 Baudelaire or musicians like Wagner came to influence many painters. This is especially shown in the case of Fantin-Latour who lets himself to be seduced by Wagner's music and translated it onto his drawings and prints. The artworks were poetry of the sight.

The movement and artists in the 19th century created art that was going to change its own course. The museums and the art academics were displaced while the gardens, the train stations and the new middle class received the leading roles in the artistic "boom" as they moved towards the 20th century.

This exhibition also clearly through Legrand, Chahine and especially Matisse demonstrates the importance of having women as central figures. Matisse even went as far as saying that “they are the principal topic of my work. I depend absolutely on my model ". As evidently proven, the topic of women was not disregarded in the artistic evolution.

The women came out of the thematic authors of novels whom incorporated the usage of light that was proposed by Impressionism. The women of the 18th century appeared in well-defined traditional compositions, in stroll scenes, as elegant dames and in traditional portraits. These were incomparable to the new form of expression introduced by artists such as Legrand and the great Henri Matisse.

They depicted women in scenes of the most absolute commonness such as when getting out of the bath, reading or stretched out on a bed. Positions that allowed nudity to be shown in an innocent form mixed with posing and of immediacy, which attributed to such great spontaneity.

Nonetheless in this manner we see a great difference between the women of Legrand and those of Matisse. Those of Legrand supported the primitive meekness whereas those of Matisse lose its' three dimensional forms. The form is instead given with light linearity; a curve of arabesque becomes the heiress of the odalisques of lines and makes the representation of vitality a substitute for the physical paw.

The feminine figure receives such presence, that it turns out to be the most important part of the work especially due to its occupation of the whole space. The woman who has been made part of nature, an Organic woman, so attractive and simultaneously so aggressive becomes the form in which Picasso portrayed in the later part for his works called "Harem" or “Ladies of Avignon ".

This just shows that nothing in art is accidental. Everything takes a tour; simplistically an evolution.

10 The 20th Century

As mentioned before, modern printing is a method which uses lithography for aesthetic purposes (Romanticism, 18th century, until 1945). This was the time when the innovations of Realism flourished, although in reality, it was the Impressionists and the incorporation of colour in prints that truly established the border between old and modern engraving. This temptation for the pure and militant experimentalism, expressed in diverse avant-garde activities at that time marked the foundations of art as we know it, manifested itself preferably in painting and sculpture. But the graphic arts were not alienated from all the influence of such activities.

Until 1930s, Paris had remain as a neuralgic centre, welcoming an important number of foreign artists, especially Jews and eastern Europeans, who contributed to the birth and development of these avant-garde activities. Foujita, Chagall (1887-1985), Picasso, Léger (1881-1955), Braque (also called Delaunay) are some of the best well known artists who came together to form the School of Paris. The Spanish artist Celso Lagar, the French Beauding, or the Russian with French nationality Serge Poliakoff, are some of its students who joined in, in the French capital, the freedom of expression they needed for the manifestation of their innovative ideas.

We have seen how the Symbolists worked on the study of Men's inner states through black and white lithographs and etchings. They influenced greatly German expressionism in the early 20th century. Whilst Expressionism was resonating in Germany, the school of metaphysics and futurism arose in Italy. In this exhibition, we demonstrate that metaphysical path through the figure of Giorgio de Chirico, who by the influence of great artists such as Piero della Francesca (1416 – 1492), showed us disturbing and oneiric scenes and allegories of solitude. Many surrealists imitated his resources to transcend reality.

And while Germany, Spain or Italy were doing their incursions into the avant-garde, Europe's greatest recording centre settled in Paris. There, before the official lounges, rebel painters were gathering in other parallel lounges to get to know each other. Thus, in 1884, the Lounge of the Independent was created and, in 1903, the Autumn Lounge. Dunoyer de Segoznac, Survage, Marie Laurencin or Poliakoff exposed their works in these independent lounges, vented their new figurative art market by the distortion of reality as we knew it before. It was during this time, more specifically in 1907 with Cezanne's retrospective art exhibition, a new art was born – Cubism, with Picasso and Braque as its highest exponents. Cubism began in the painting rather than engraving, although soon enough the short brushstrokes of cubist paintings were replaced by clear lines or points in the engravings. Together with Picasso and Braque, Villon represented the prototype of a cubist engraver as he dedicated his whole life to this noble task, from a newspaper illustrator to an engraver. His style has been qualified as “impressionist cubism” due to its geometry and visual impact.

While cubism was at its full range in France it also became an outlawed moment which was like a gold mine for designers who began using new methods of dissemination such as billboards, fabrics or painted papers. These were what would later on be the “new canvas” in the hands of Pop Art artists like Warhol and Lichtenstein or Botero who are, among others, three examples of lito- offset artists who signed and present in this exhibition. Painters of that time, like Jean Cocteau (1889-1966), Maurice Denis and Fernand Léger, were also interested in posters.

While cubism had completely change the engravings during these years. Picasso was the only one who was able to master it. One must point out his work revealed a great knowledge of techniques: lithographs, etchings, xylography and dry tops. Matisse, Miro, Max Ernst (1891-1976), Jean Arp (1886- 1966) and Salvador Dalí also cultivated these skills in their graphical works.

11 After the First World War everything changed. The postwar period left an impact on several artists, whose works could express the horrors of the war or, taking the example of surrealists, forms of protests depicted in the dreams. At first they did not give much importance to the art of engraving, although later, influenced by Picasso, the surrealists developed unusual prints from the unconscious. In Spain, Joan Miró and Oscar Domínguez (1906 – 1957) were two key artists who contributed to Parisian surrealism. Miro conducted countless etchings and numerous lithographs of his most representative icons such as spots of colors, stars and shapes reflection of one's subconscious. However, Salvador Dali was the star of the Spanish Catalan surrealist school. Influenced by the Impressionism and Cubism, he knew how to evolve to surrealism, a style in which he deployed his best ideas.

It was not only Europe that became the centre of surrealism. Latin American artists proved to be especially sensitive to it, when a group from Brittany (France) took refuge first in New York and then in Mexico, fleeing from the Nazi invasion in Paris. The Chilean Roberto Matta, the Cuban Wilfredo Lam and the Ecuadorian Oswaldo Guayasamín adopted a very peculiar surrealism with totemic creatures of African roots. In his most recent prints, Roberto Matta also referred to the world of science fiction which seems to be dominated by technology. In his engravings, one can see launching pads for rockets and spaceships. Men, surrounded by machines, tubes and capsules, seems to be relegated to the role of robots. The engravings of Wilfredo Lam and Oswaldo Guayasamín consist of half human half animal figures, armed with sharpened instruments and scythes. These hybrid creatures symbolize the danger against humanity in a world filled with war and innocent victims.

Since 1950, etching has become the main form of expression for avant-garde artists and one can state that it was by then that what we call contemporary engraving really began. Since then, several forms of expression were developed, characterized by its opposition to abstraction and its focus on the expressive and physical element of the painter.

The gestural and spontaneous automatism, which characterized surrealism, derived into Abstract Expressionism in Spain with its different versions: the gestural from Saura, the matter paintings from Tapies, the geometric from Palazuelo or the poorly classified one from the sculptor Chillid, in France in the Lyric Abstraction and in the USA the “action paiting”, where artists such as Pollock or Sam Francis succeeded in making a place for themselves like nobody else in America.

Still, abstraction continued to have great representatives in Europe such as Vasarely or Yvaral, who endowed abstraction with a combination of geometry and figurative art with optical effects of movement, and with a special ambiguity between shapes and perspectives that led to the kinetic art of Soto and Cruz-Diés in Venezuela and to Calder's mobiles, as called by the French dada artist Marcel Duchamp, whose shapes gave art another plasticity. Another abstract expression is particular by Zao Wou Ki. His expression mixes masses that shape a world in the making, without losing the influence of Chinese tradition. Or Hartung, a German anti-Nazi with French nationality, whose speed in the creative process and rapid brushstrokes characterizes both his artwork and paints.

Even so, these years´ trends were closer to the artist's intuitive expression, as is the case with Art Brut, entitled as such by Jean Debuffet and referring to all the art created by people from outside the artistic world and without any formal education. Dubuffet's works reflect pure creativity, without being polluted from the imitation of already established models. This is another fundamental aspect of the primitivism which was assumed throughout the 20th century by artists who remain on the fringe of modernity.

Several artists emerged from Nordic countries, also influenced by means of expression straight out of the unconscious without the interference nor the control of the intellect. They were called the “CoBrA” group, with Alechinsky and Lindström as its leaders,

12 which means of expressions made closer to the American action painting and which disengagement from the official art brought it closer to Dubuffet.

With Junk Art, an American artistic movement from the 50s which aroused as a reaction against abstract expressionism (as it was considered a tie to free expression), daily objects with no value were inserted into material works. Waste, garbage and other urban leftovers were recovered by artists such as Dine, Oldenburg, or in Spain by Tápies, to be incorporated into canvases and paper.

Junk Art had its clear end in Popular Art, which would obtain imaginative pictures by combining material from the media like magazines, newspapers, movies or photographs. Pop artists used in figurative speech issues of the consumers' society, like refreshment bottles, cigarette packs or chewing gum wrappers, so that art would become accessible to the general public. Proof of these are exhibited in artists such as Andy Warhol, a great icon of pop culture, Roy Lichtenstein, Robert Indiana or Jasper Johns, who along with other creator of the American pop movement Robert Rauschenberg defied graphical tradition by introducing advertisement aesthetics and comics in halls of art. Besides these examples, a great number of pop artists created magnificent engravings, including the Americans Larry Rivers or Tom Wesselmann or the Spanish pop duo Equipo Crónica.

Soon after that, the new northern American abstraction wanted to offer an alternative to the almighty pop. Thus, Malevitch's and Mondrian's historical abstraction were recovered, although the radicalism with which it was done has favored the emergence of minimal art in the mid-60s. Reductionism is its main aesthetical characteristic. The minimal art of Carl Andre, Richard Serra or Sol Le Witt was based in the simplicity, total abstraction, the maximum order and a high level of finishing. They used elemental shapes such as cubes, spheres or pyramids which they represented in series or variations.

It is incomplete to conclude without mentioning Damien Hirst. The sale of one of his works for 10 million dollars in 2004 made him the second most expensive artists, after Jasper Johns. In June 2007, Hirst managed to succeed Johns, with the sale of his “Medicine Chest” (Medicine Chest, in the Lullaby Exhibition) for nine million and six hundred and fifty thousand pounds in Sotheby's London. Death is the central theme of his work and hence his studies are addressing such controversial themes. Hirst takes the use of everyday objects to its fullest as a work of art; well, if by that we understand the use of a shark conserved in formadehyde as an everyday object.

13 Contribution of the Graphical Works to the Plastic Language.

Since the birth of prints in the 15th century, graphical works have always been known as “Work of Arts”. In view of the fact that the graphical works have come to achieve on its own all the successes reached by other plastic arts (painting, sculpture, drawing, etc.). A fervent interest that grew between the prints collectors - or graphical works, as we know it more commonly today – helped the prints to have its' own place in the narrative of modern and contemporary art history.

This World's Modern and Contemporary Art Masters exhibition is an attempt to further showcase the involvement of prints in modern and contemporary art. The exhibition offers a brief insight across the historical and technical evolution from its deep renovation in 1890 to the present day.

Printing and more specifically xylography together with chalcography are two of the most ancient procedures in reproduction techniques known today. In the 14th century the engraving caused a revolution in the diffusion of images due to the books known as “tabularios”. It was in fact the 15th century that became a crucial moment as embossing and engraving on wood took place and the engraving on hollowed copper reached maximum brilliance.

The burin and the dry top were two direct chalcographic techniques that appeared in Florence while the skills in goldsmith were developed. The Netherlands showed the same development and the credit went to the work by a teacher named Hausbuch. However it was Durero (1471-1528), who worked perfectly with the burin and skillfully with dry top. He regarded print as a work of art by itself.

Hausbuch was fully involved in the printing transaction as he realized the potential of xylography. He is acknowledged as one of the discoverers of the first indirect calligraphic technique; etching. A century afterwards Rembrandt (1606-1669) confirmed this with Durer and established the sealing practice whereby all prints would carry the stamp of its' creator; having the works of art marked with capital letters.

The invention of lithography belongs to Alois Senefelder (1771-1834) who invented it circa 1796 in Munich. He embraced it as an artistic expression at the beginning of 19th century. It was a pivotal point in the development process of graphical works. Goya (1746-1828) on the other hand made the most of etchings in 1778 and consequently in 1793 shifted his focus to aquatint.

In 1810 Goya produced the The Disasters of the War series of 82 prints. These prints were produced from etchings and expressed contents that were to inspire the Germans a century later. At the age of 72, Goya was still active in outlining the lithography of “Quinta del Sordo” murals with the help of a friend, Jose Maria Cardano.

The innovative character as well as the free and easy nature of lithography turned it to become the ideal way for the reproduction and creation of prints. Ingres, Gericault, Delacroix, Delvaux and Daumier produced the most valued lithography prints during the first half of the 19th century. Meanwhile, the Japanese, Utamaro (1753-1806) and Hiroshige (1797-1858) devoted themselves as teachers of xylography of the period.

Due to the autonomous and overflow of images from the 19th century and the appearance of photography and photo- reproduction techniques, this had cause a setback on prints. In the middle of the 19th century, the public started to reject the prints

14 by modern painters and considered them as being too bold; the only prints that were selling during that period were the classic reproductive works. “In what discredit has fallen the noble art of the engraving" wrote the French poet Baudelaire in 1860. The professional engravers had less and less orders and found an increasing difficulty to sell their works. This discrediting act towards prints was a worrying condition as it opened to the possibility of its' disappearance.

Nevertheless, in the last decade of the 19th century, an important historical event happened in the history of prints and this was the discovery of colored lithography. Owing much to the revolutionary use of color by the impressionists and thanks to their irresistible commercial hook, the graphical works started to abandon the long crisis of shifting towards photography.

The commercial victory of the impressionists, the possibility of using color in lithography prints, and the fact that it was better accepted between the middle class, then the proofs' signatures at the end of the 19th century made the prints to be numbered. These conditions gave the dealers the opportunity to introduce them to collectors. Since then the prints recovered from the downturn and eventually turned to become the most democratic and popular modality as compared to all other plastic arts.

The lithography prints by Renoir and Sisley translated the impressionists' experiments and transcribed the figures as well as the movements of the environmental light. Later on, the etchings of Toulouse-Lautrec's lithographic posters or Jacques Villon drawings were simplified in order to get the most out of the expressive value created by spots of colors. This new and simplified graphical language attracted the bars and cabarets owners who found the new colored lithography as a magnificent instrument to promote their business. The most advanced dealers of that moment began to show interest in the commercial development of this new genre and started to acquire the attention of a minority of collectors whom were linked to the avant-garde art.

We must determine that the origin of modern engraving is circa 1890s. Some editors understood that they had to authenticate prints in a different way, turning them into a unique work, signing and numbering every commercialized copy. Prior to 1890, none of the prints were signed by pencil and they were not even numbered. It was necessary to claim that it was created for its multiple reproduction function. This was declared by Durero and Rembrandt on their engravings or as Géricault, Delacroix or Corot did with their lithography prints.

During the same period, another editor; Ambroise Vollard wanted to support a group of young French artists known as the "Nabis". Among the artists included were the theoretical painter Maurice Denis and also the young artist Eduard Vuillard. The Nabis preferred the lithography in color rather than any other technique. Besides the influence exercised by Gauguin, the Nabis felt attracted to the symbolic works by Pierre Puvis de Chavannes (1824- 1898), the Japanese paintings and the English Pre- Raphaelites. All these influential factors translated into colored paintings and a few prints of notable quality.

Vuillard, with so much talent as Pierre Bonnard (1867-1947) began creating his lithography in black and white, moving later into the cuatricromia (four-color process) in 1896 and managed to realize much alike Maurice Denis's works which was the magnificence of strong colors in lithography. Thanks to Vollard, the Nabis were able to present their prints through advertising posters that covered numerous Parisian walls. In due time, these colored sheets became fashionable among the French middle class whom started buying them to decorate the interior of their homes.

Albeit, the most innovative artists who were letting loose from the academia, had already initiated an advanced career. They launched a personalized research project of the new lithographic skills in their own workshops. They further enriched the traditional language by means of the print to the head (wood of box to the burin) and linoleum. At that moment, the interest on Japanese

15 Kunisada, French impressionism and postimpressionism were enormous. The collectors found in them the unusual possibilities to assemble new artistic exchequers. Renoir, Manet, Gauguin, Toulouse-Lautrec, Bonnard and Matisse objected this special accumulation and demand by collectors and until this day it is very difficult today to find prints by these artists on the market.

Differing to the official lounges of Paris, the rebellious painters announced and exploited other parallel lounges. In an autumn lounge of 1905, a group of painters led by Henri Matisse exhibited their works. The viewing of the paintings had cause a nervous reaction in between the critics and moreover spectators. The press and artists' rivals referred to them as “wild animals “(fauves). The eccentricity was typified in the use of spots of strident colors.

At the beginning of the 20th century, besides Poliakoff, Braque, Chagall and Miro, two fundamental contemporary expressionist artists emerge in the history of prints; Paul Klee and Pablo Picasso. Much is owed to the tenacity and research in the multiple skills of graphical works. Both artists began to realize and surprised by the effects of prints. Nevertheless, the public was indifferent towards Picasso's endeavor in the new graphical language. The artist and print maker from Malaga did not simply see prints as an entertainment but as an artistic expression just as important as paintings. In fact, Picasso devoted himself exclusively to this genre for years and even wrote the first chapter of the contemporary graphical language. Picasso left painting aside for a long time, as did Rembrandt in his time, and the two devoted themselves to make perfect the magnificent skill of printing. This explains the calligraphic quality of his engravings in which he manages to utilize all the skills. He felt very comfortable mastering the etching, aquatint and worked skillfully with burin. He then mixed various skills and worked on lithography with success.

Picasso were using gouge and investigated on reliefs. It came to a point whereby the lino print reached a level in which it became an object of special acquisition at prices never dreamt possible.

During the first years of the 20th century, the artists continued to experiment techniques and tried to constantly break the status quo. Nevertheless, the big artists did not forget their previous training. Nolde, Kirchner, Munch and Beckmann, saw a technique in xylography as being the most appropriate for their creations: expressing loneliness and elongated figures of uneasiness and bitterness marked by the war.

The German expressionists transmitted these sensations of hopelessness very well. They treated the wood to a singular treatment; coarsely chiseling the seam of the wood with the gouge. The representations of the image managed to acquire an expressive and an unsuspected liveliness, very different to what was achieved by Goya with his aquatints.

The public was slightly receptive to prints by Kandinsky and other Blauer Reiter members. Since 1906, Kandinsky had praise Primitivism by Gauguin and he did not move to abstract prints until 1922. Previously in 1910, his pictures depicted spots and lines. Emil Nolde, for example, considered by the Nazis as the prototype of degenerate artists of the epoch but he did not manage to promote himself and his xylography prints. On the other hand, the sale of postcards adorned with his drawings contributed sufficiently for him to leave his teaching work in Saint Gall and to devote himself later to the groups; Der Brucke (The Bridge) and the Blaue Reiter (The Blue Rider). These were the key movements inside the German expressionism.

The cubist prints were not successful when they appeared in Paris during the Autumn lounge of 1912 and 1913. Nevertheless, thanks to cubism, the skills of prints were changed completely. With the emergence of "collage", the forms and colors employed by cubists became subjects for the front cover of books and numerous advertising posters. This commercial explosion was culminated in the Universal Exhibition of 1925. With the establishment of cubism, Picasso tried to proof that the traditional

16 representation of forms was arbitrary and he reacted against the classic canons of beauty by the Greeks. From 1926 onwards, he started to deform the features of the prominent figures in his art.

In these years, we may also find the successful and failed prolific painter, printer and sculpture, Salvador Dalí. His controversial work, due to multiple falsifications had damaged him very much. Moreover, the market had punished him so much that none of his better pictures have been able to achieve multimillion returns as compared to those by other artists of the same stature.

For hundreds of years, Paris had been the first world laboratory for the research of new forms of expression in prints. Up until the Second World War, the visual language of avant-garde monopolized the subject of paintings.

On the contrary, in New York, the postwar period and later from the 1960s, witnessed an achievement by Andy Warhol; the patriarch of pop engravings. The printed images shifted the attention from painting and established print as the heart of artistic communication.

As a reaction to this occurrence, the pop modals such like Lichtenstein, Warhol, Rauschenberg or Wesselman have multiplied images and combined movies, photographs and the newspapers. Their posters were well received and their skills were novel. After the Second World War, more abstract expressionists such as Motherwell, Francis, Pollock, de Kooning and Newman excellently contributed to the development of the graphical works; especially in producing lithography and silkscreen printings.

During the 1950s, the production of silk-screen printing arose and this is owed to Victor Vasarely's nobility and insertion of artistic skills. Eusebio Sempere realized printings with silk-screens as such extraordinaire quality up to the point when Denise René, a promoter of the optical and kinetic art in Paris gained confidence in editions by Arp, Kassák and Vasarely.

Equipo Cronica in Spain and Roy Liechtenstein in America discovered their graphical skills in the development of silk-screen printing and adapted this technique for their pop diffusion.

At the same time, Antoni Tàpies applied the same technique to his works. By the means of introducing carborundum and the use of sand and unusual ingredients on paper, the abstract Catalan expressionist received the glare of publicity in his graphical works, something that was never imagined before.

17

WORLD’S MODERN AND CONTEMPORARY ART MASTERS

PRINTS XIX AND XX

Eugène Delacroix. Young tiger playing with his son. Litograph. 28,5x39,9 cm. Delacroix 01.00 21 Eugène Delacroix. Jews from Algiers and a street in Algiers on one sheet. Litograph. 42x16. Delacroix 02.00 22 Henry Fantin-Latour. The Embroiderers. 1898. Litograph. 21,6x27,5 cm. Fantin-Latou 01.1898 23 Èdouard Manet. The Child with soap bubbles. 1868. Etching, aquatint and roulette on cooper. 45x31,5 cm. Manet 01.1868 24 Èdouard Manet. Edgar Poe. 1894. Etching. 36,7x27 cm. Manet 02.1894 25 Camille Pissarro. Bathers in the shade of wooded shorelines. 1895. Litograph. 41,5x60 cm. Pissarro 02.1890 26 Camille Pissarro. Cowgirl in the water. 1890. Etching. 28,5x20 cm. Pissaro 01.1895 27 Auguste Rodin. Subscription Receipt for help to the American Hospital, París. 1916. Drypoint. 25,2x16,5 cm. Rodin 01.16 28 Maximilien Luce. Portraits of Pissarro, writer at work, childrens…. 1900. Litograph. 33x29 cm. Luce 01.1900 29 Maximilien Luce. Faces studies, mothers and children. 1890. Drypoint. 30,5x22 cm. Luce 02.1890 30 Maximilien Luce. Faces studies, mothers and children. 1890. Drypoint. 21,9x6,2 cm. Luce 03.1890 31 Maurice Utrillo . Place du Tertre and the Sacred Heart. 1924. Litograph. 43,5x29 cm. Utrillo 02.24 32 Maurice Denis. Loneliness. 1928. Litograph. 32,5x50 cm. Denis 01.28 33 André Dunoyer de Segonzac. The big oak chaville. Etching. 25x32 cm. Dunoyer 01.00 34 André Dunoyer de Segonzac. The big oak chaville. Etching. 25x33 cm. Dunoyer 02.00 35 Odilon Redon. Temptation of Saint Anthony. 1896. Litograph. 40x57 cm. Redon 01.1896 36 Louis Legrand. Tthe toilet. Drypoint on Pellet et Legrand paper. 44,5x31,2 cm. Legrand 01.00 37 Louis Legrand. After the toilet. Drypoint on Pellet et Legrand paper. 44,5x31,2 cm. Legrand 02.00 38 Louis Legrand. After the toilet. Drypoint on Pellet et Legrand paper. 41,3x31,7 cm. Legrand 03.00 39 Edgar Chahine. Louise France. 1902. Drypoint. 52,5x35,7 cm. Chahine 01.02 40 Edgar Chahine. Ghemma de face . 1910. Drypoint. 58x37,8 cm. Chahine 02.10 41 Marie Laurencin. The Musician. 1920. Litograph. 9,2x17,2 cm. Laurencin 02.20 42 André Beaudin. The white horse. 1953. Etching. 32.5x50.5 cm. Beaudin 01.53 43 André Beaudin. Composition to the characters. 1967. Litograph. 50x64.7 cm. Beaudin 02.67 44 Édouard Vuillard. The home. 1899. Litograph. 40x32,5 cm. Vuillard 01.1899 45 Tsuguharu Foujita (Léonard Foujita). Crucifixion. 1920. Litograph. 47,5x63,5 cm. Foujita 05.00 46 Tsuguharu Foujita (Léonard Foujita). Poetesse. Xylography. 25x25 cm. Foujita 03.00 47 Tsuguharu Foujita (Léonard Foujita). No title. Litograph. 25x25 cm. Foujita 01.20 48 Henri Matisse. Josette gray col "Conventional". 1914. Etching. 28x18 cm. Matisse 04.14 49 Henri Matisse. Josette gray - Figure in a chair. 1915. Etching. 27x19 cm. Matisse 05.15 50 Henri Matisse. Figure Reading. 1929. Drypoint. 14,1x10 cm. Matisse 06.29 51 Henri Matisse. Reading, a profile. 1913. Litograph. 50,5x33 cm. Matisse 09.13 52 Henri Matisse. Seated Nude, right arm resting on the left shoulder. 1929. Etching. 38x28 cm. Matisse 07.29 53 Henri Matisse. The black eyes. 1914. Litograph. 50x33 cm. Matisse 03.14 54 George Braque. The Freedom of the Sea. 1959. Litograph. 56x38 cm. Braque 01.00 55 Sonia Delaunay. Andalusian Garden. 1970. Litograph. 59,5x42 cm. Delaunay 02.70 56 Pierre Soulages. Litho 34. 1974. Litograph. 67,5 x 50,5 cm. Soulages 01.74 57 Bram Van Velde. No title. 1973. Litograph. 54x41,5 cm. Van Velde 01.73 58 Bram Van Velde. No title. 1973. Litograph. 51x36 cm. Van Velde 02.73 59 Pablo Picasso. The dance. 1905. Drypoint. 33x50,5 cm. Picasso 11.05 60 Pablo Picasso. The Water Bowl. 1905. Drypoint. 33x51 cm. Picasso 12.05 61 Pablo Picasso. Saltimbanque at rest. 1905. Drypoint. 50,5x33 cm. Picasso 13.05 62 Pablo Picasso. The man with the vine arbor. Etching. 56x76 cm. Picasso 14.00 63 Jacques Villon. The call of life, boys. Etching and drypoint. 57,5x45,3 cm. Villon 01.00 64 Zao Wou Ki. The Fishing. 1951. Drypoint. 27,7x38 cm. Zao Wou Ki 01.51 65 Zao Wou Ki. Engraving 161. 1965. Etching and aquatint. 76,5x56,4 cm. Zao Wou Ki 01.65 66 Hans Hartung. No title. 1971. Etching. 75x105 cm. Hartung 20.70 67 Hans Hartung. No title. 1970. Etching. 75x106 cm. Hartung 21.70 68 Hans Hartung. No title. 1970. Etching. 75x107 cm. Hartung 22.70 69 Hans Hartung. No title. 1970. Etching. 75x108 cm. Hartung 24.70 70 Hans Hartung. No title. 1970. Etching. 75x109 cm. Hartung 23.70 71 Hans Hartung. No title. 1970. Etching. 75x110 cm. Hartung 19.71 72 Jean Dubuffet. The taste of the vacuum. 1959. Litograph. 64x45 cm. Dubuffet 01.59 73 Henry Moore . Nude. 1975. Litograph. 46 x 39 cm. Moore 01.75 74 Alexander Calder . L'Dark invades my body... Litograph. 72x103,4 cm. Calder 01.00 75 Giorio de Chirico. Sun and sea. Litograph. 70x50 cm. de Chirico 07.75 76 Giorio de Chirico. Duality disturbing muses. 1975. Etching. 38x28 cm. de Chirico 06.00 77 Bernard Buffet. The wire-de-feriste: board of my circus. 1968. Litograph. 72x51.5 cm. Buffet 01.68 78 Pierre Alechinsky. Tardieu. 1990. Litograph. 65x50 cm. Alechinsky 03.90 79 Pierre Alechinsky. Prédateur. 1981. Litograph. 82,5x61 cm. Alechinsky 02.00 80 Bengt Lindström. No title. 1990. Embossing and illuminated by hand. 56,5x75 cm. Lindström 11.90 81 Bengt Lindström. No title. 1990. Embossing and illuminated by hand. 58x76 cm. Lindström 12.90 82 Bengt Lindström. No title. 1994. Mix media. 72,5x53 cm. Lindström 13.94 83 Victor Vasarely. Blue globe. 1980. Serigraph. 67,5x64 cm. Vasarely 04.80 84 Victor Vasarely. Tewek. Serigraph. 81x72 cm. Vasarely 01.00 85 Victor Vasarely. Kerek. Serigraph. 109x65 cm. Vasarely 02.00 86 Jean Pierre Yvaral. No title. Serigraph. 66,5x66,5 cm. Yvaral 02.00 87 Jean Pierre Yvaral. No title. Serigraph. 66,5x66,5 cm. Yvaral 01.00 88 Yturralde 01.74C Yturralde 02.74

Yturralde 03.72 Yturralde 04.71

José Mª Yturralde - No title. 1974. Serigraph. 65x50 cm. Yturralde 01.74C - No title. 1974. Serigraph. 65x50 cm. Yturralde 02.74 - No title. 1974. Serigraph. 65x50 cm. Yturralde 03.72 - No title. 1974. Serigraph. 65x50 cm. Yturralde 04.71 89 Yturralde 05.72 Yturralde 07.72

Yturralde 08.72 Yturralde 09.72

José Mª Yturralde - No title. 1974. Serigraph. 65x50 cm. Yturralde 05.72 - No title. 1972. Serigraph. 59x57,5 cm. Yturralde 07.72 - No title. 1971. Serigraph. 62,5x48 cm. Yturralde 08.72 90 - No title. 1972. Serigraph. 62,5x48 cm. Yturralde 09.72 Yturralde 10.71 Yturralde 11.72

José Mª Yturralde - No title. 1972. Serigraph. 62,5x48 cm. Yturralde 10.71 - No title. 1972. Serigraph. 62,5x48 cm. Yturralde 11.72

91 Yturralde 12.72 Yturralde 13.71

Yturralde 14.71 Yturralde 15.72 José Mª Yturralde - No title. 1971. Serigraph. 52,5,x48 cm. Yturralde 12.72 - No title. 1972. Serigraph. 62,5x48 cm. Yturralde 13.71 - No title. 1972. Serigraph. 62,5x48 cm. Yturralde 14.71 92 - No title. 1971. Serigraph. 62,5x48 cm. Yturralde 15.72 Yturralde 18.72 Yturralde 17.72

Yturralde 18.72 Yturralde 19.73

José Mª Yturralde - No title. 1971. Serigraph. 63,5x48,5 cm. Yturralde 18.72 - No title. 1972. Serigraph. 68,5x61 cm. Yturralde 17.72 - No title. 1972. Serigraph. 81,5x61 cm. Yturralde 18.72 - No title. 1972. Serigraph. Yturralde 19.73

93 Victoria 01.91. Victoria 02.91 Victoria 03.86

Victoria 04.86 Victoria 05.74 Victoria 06.91

Salvador Victoria - Circle cut. 1991. Etching and aquatint. 76x56 cm. Victoria 01.91 - No title. 1986. Aquatint. 75,5x56,6 cm. Victoria 04.86 - Malva circle. 1991. Etching, aquatint and soft varnish. 76x56 cm. Victoria 02.91 - No title. 1974. Etching and aquatint. 74x52,5 cm. Victoria 05.74 - No title. 1986. Aquatint. 75,5x56,5 cm. Victoria 03.86 - No title. 1991. Aquatint. 76x56 cm. Victoria 06.91

94 Victoria 07.92 Victoria 08.93

Victoria 09.92 Victoria 10.93

Salvador Victoria - Corolio I. 1992. Etching and aquatint. 76x56 cm. Victoria 07.92 - Microscope. 1993. Etching and aquatint. 76x56 cm. Victoria 08.93 - No title. 1992. Serigraph. 70x50 cm. Victoria 09.92 - No title. 1993. Serigraph. 69x49 cm. Victoria 10.93 95 Victoria 11.93 Victoria 16.76.

Victoria 14.72 Victoria 15.73 Salvador Victoria - No title. 1993. Serigraph. 69x50 cm. Victoria 11.93 - Four and eat. 1976. Serigraph. 50x45 cm. Victoria 16.76 - No title. 1972. Serigraph. 71x50 cm. Victoria 14.72 - No title. 1973. Serigraph. 71x50 cm. Victoria 15.73 96 Equipo Crónica. The torture. 1969. Serigraph. 76x56 cm. Equipo Crónica 02.69 97 Robert Indiana. The German four. 1968. Serigraph. 72.7x72.7 cm. Indiana 03.68 98 Andy Warhol. Cologne Cathedral. 1985. Serigraph with diamonds. 100x80 cm. Warhol 05.85 99 Jasper Johns. Ballentine ale. Offset. 10,5x15 cm. Johns 03.00 100 Manolo Valdés. Praying. 1987. Etching. 96,5x63 cm. Valdés 04.87 101 Mimmo Rotella. 1963-76 Marilyn Rhythm 1963-76. 1996. Lito-offset glued to canvas. 140x100 cm. Rotella 01.96 102 Mimmo Rotella. ¿Marilyn Rhythm 1963-76?. 1996. Lito-offset with torn paper collage and gluing to. 115x80 cm. Rotella 02.96 103 Sol Lewitt. No title. Litograph. 42x42 cm. Lewitt 01.00 104 Sam Francis . SF-351. 1992. Litograph. 76x56 cm. Francis 01.92 105 Arroyo 16.91 Arroyo 19.91 Arroyo 05.76

Eduardo Arroyo - Cleopatra. 1991. Mix media. 65x50 cm. Arroyo 16.91 - Portrait of Sebastian de Morra dwarf born in Cadaqués in the 1st half of the twentieth century. 1991. Etching. 65x50 cm. Arroyo 19.91 - Vanitas. 1991. Resins on Copper. 65x50 cm. Arroyo 05.76

106 Arroyo 17.91 Arroyo 18.91

Eduardo Arroyo - Felipe II. 1961. Litograph. 50x66 cm. Arroyo 17.91 - Maid of Teniers. 1991. Etching and aquatint. 65x50 cm. Arroyo 18.91 - The centenary of Alliance Israelite Universelle. 1976. Litograph. 45x71 cm. Arroyo 12.61

Arroyo 12.61

107 Francisco Iturrino. Riders and Greyhound. 1900. Etching and aquatint. 51x66 cm. Iturrino 01.00 108 Francisco Iturrino. Dance. 1900. Etching and aquatint. 49,5x65,5 cm. Iturrino 02.00 109 José Gutiérrez Solana. No title. Etching. 50x65 cm. Solana 01.00 110 Clavé 21.65

Clavé 22.60 Antoni Clavé. - Domenikos G. 1965. Etching. 50x65 cm. Clavé 21.65 - The Leaf. 1960. Litograph. 56x76 cm. Clavé 22.60 111 Clavé 53.50 Clavé 32.65

Antoni Clavé. - The girl in the cage. 1950. Litograph. 56,5x38 cm. Clavé 53.50 - L´ÉPÉE. 1965. Litograph. 60x43 cm. Clavé 32.65 112 Sandro Chia. Character in green frame. 1980. Litograph. 89,5x69,5 cm. Chia 02.80 113 Chirino 29.91

Chirino 31.91.

Martín Chirino - Africa tool. 1991. Etching. 76x112 cm. Chirino 29.91 - Chronicle of the twentieth century. 1991. Etching. 76x112 cm. Chirino 31.91 114 Chirino 32.91

Martín Chirino - Balos. 1191. Etching. 117x112 cm. Chirino 32.91 - Tinoca sky. 1991. Etching. 76x112 cm. Chirino 45.91 Chirino 45.91

115 Corneille 11.98 Corneille 12.98 Corneille 02.88

Guillaume Cornelis van Beverloo Corneille - Paradise Lost. 1998. Litograph. 89x63,5 cm. Corneille 11.88 - Image of paradise. 1998. Litograph. 76x56,5 cm. Corneille 12.98 - 1948. 1988. Etching and aquatint. 80x60 cm. Corneille 02.88

116 Corneille 05.88 Corneille 04.88 Corneille 03.88

Guillaume Cornelis van Beverloo Corneille - 1948. 1988. Etching and aquatint. 80x60 cm. Corneille 05.88 - 1948. 1988. Etching and aquatint. 80x60 cm. Corneille 04.88 - 1948. 1988. Etching and aquatint. 80x60 cm. Corneille 03.88 - Bariole bird. 1995. Litograph. 76x100 cm. Corneille 06.95

Corneille 06.95

117 Asjer Jörn. No title. 1943. Litograph. 40x38 cm. Jörn 01.43 118 Guayasamín 03.73

Guayasamín 04.73

Oswaldo Guayasamín - Milay-2. 1973. Linocut. 57x76 cm. Guayasamín 03.73 - Milay-3. 1973. Linocut. 57x76 cm. Guayasamín 04.73 - Máscara-2. 1973. Linocut. 57x76 cm. Guayasamín 06.73

Guayasamín 06.73 119 Lam 03.00 Lam 04.00

Wifredo Lam. - No title. Litograph. 97x69,5 cm. Lam 03.00 - No title. Litograph. 97x69,5 cm. Lam 04.00 120 Wifredo Lam. No title. 1965. Etching and aquatint. 40x25 cm. Lam 11.65 121 Tápies 45.70

Antoni Tápies Night Matinal. 1970. Litograph. 57x77 cm. Tàpies 45.70 Tápies 118.71 Craf paper. 1971. Etching. 65,5x90 cm. Tápies 118.71 122 Antoni Tàpies. Footprint. 1987. Etching. 50x70 cm. Tápies 60.87 123 Antoni Tàpies. Oval and Red. 1987. Etching, resins and carborundum in several inks. 50x70 cm. Tàpies 108.87 124 Antoni Tàpies. Red foot. 1981. Etching, aquatint, carborundum and collage. 56x76 cm. Tàpies 102.81 125 Eduardo Chillida. The Amazed wonderful tribute to Joan Miró. 1973. Xylography. 50,4x40,2 cm. Chillida 85.73 126 Eduardo Chillida. Black II. 1969. Xylography. 62,5x94,3 cm. Chillida 46.69 127 Eduardo Chillida. Black I. 1969. Xylography. 62,5x94,3 cm. Chillida 45.69 128 Eduardo Chillida. Black V. 1969. Xylography. 62,5x94,3 cm. Chillida 49.69 129 Le Parc 01.75C Le Parc 05.75C Le Parc 04.75C

Julio Le Parc The long walk. 1975. Serigraph. 75x75 cm. Le Parc 01.75C The long walk. 1975. Serigraph. 75x75 cm. Le Parc 05.75C The long walk. 1975. Serigraph. 75x75 cm. Le Parc 04.75C The long walk. 1975. Serigraph. 75x75 cm. Le Parc 06.75C The long walk. 1975. Serigraph. 75x75 cm. Le Parc 03.75C

Le Parc 06.75C 03.75C

130 Julio Le Parc. No title. 1975. Serigraph. 100x70 cm. Le Parc 17.75 131 Masson 03.64 Masson 05.64

Masson 07.64 Masson 09.64

André Masson - The dead. 1964. Etching and aquatint. 29,5x39 cm. Masson 03.64 - The dead. 1964. Etching and aquatint. 28,5x39 cm. Masson 05.64 - The dead. 1964. Etching and aquatint. 29x39 cm. Masson 07.64 - The dead. 1964. Etching and aquatint. 29,5x39 cm. Masson 09.64 132 Masson 10.64

Masson 11.64 Masson 12.60

André Masson - The dead. 1964. Etching and aquatint. 29,5x39 cm. Masson 10.64 - The dead. 1964. Etching and aquatint. 29,5x39 cm. Masson 11.64 - No title. 1960. Lithograph on glued wood. 66x50,5 cm. Masson 12.60

133 Joan Miró. Water Bearer IV. 1962. Aquatint. 56x75 cm. Miró 023.62 134 Antonio Saura. The Seven Deadly Sins II (Laziness). 1994. Litograph. 56x75 cm. Saura 16.94 135 Antonio Saura. Novisaurias (Aurelia). 1969. Etching and aquatint. 76x56 cm. Saura 25.69C 136 Antonio Saura. Novisaurias (Delia). 1969. Etching and aquatint. 76x56 cm. Saura 29.69C 137 Antonio Saura. General Delivery nº1: addition. 1984. Zincography. 76,5x115 cm. Saura 44.79 138 Roberto Matta. Hom'mere III. The Ergonaute: It explodes. 1971. Etching and aquatint. 67x51,5 cm. Matta 54.77 139 Roberto Matta. Hom'mere III. The Ergonaute: Paterminant Childhood. 1977. Etching and aquatint. 67x51,5 cm. Matta 55.77 140 Roberto Matta. Living mortality: plancha 3. 1973. Etching and aquatint. 47,5x32,5 cm. Matta 40.00 141 Roberto Matta. Hom'mere III. The Ergonaute: The conmer. 1977. Etching and aquatint. 67x51,5 cm. Matta 58.77 142 Roberto Matta. Hom'mere III. The Ergonaute:Tranchetre. 1977. Etching and aquatint. 67x51,5 cm. Matta 59.77 143 Rufino Tamayo. Chapter III. 1959. Litograph. 33x25,3 cm. Tamayo 01.59 144 Miotte 02.91 Miotte 03.91

Miotte 04.91 Miotte 05.91

Jean Miotte - Espiegel. 1991. Aquatint and drypoint. 66x50,5 cm. Miotte 02.91 - Mists. 1991. Aquatint and drypoint. 66x50,5 cm. Miotte 03.91 - Tropical. 1991. Aquatint and drypoint. 76x56 cm. Miotte 04.91 - Frankfurt. 1991. Aquatint and drypoint. 76x56 cm. Miotte 05.91 145 Miotte 07.92 Miotte 08.92 Miotte 10.92

Jean Miotte - The dream of the sorcerer. 1992. Litograph. 92x70 cm. Miotte 07.92 - Concept hieratic. 1992. Litograph. 92x70 cm. Miotte 08.92 - Ballad. 1992. Litograph. 92x70 cm. Miotte 10.92

146 Nagel 01.72

Andrés Nagel - Dog run over. 1972. Lithograph and collage on stone and corrugated cardboard. 65x65,5 cm. Nagel 01.72 - Hands. 1974. Etching, aquatint and embossing. 71x52 cm. Nagel 02.74 Nagel 02.74

147 Plensa 01.92 Plensa 02.96

Jaume Plensa - Interiors-III. 1992. Linocut, collage and aquatint on Linoleum. 75,5x55 cm. Plensa 01.92 - No title. 1996. Mixed on Stone + Zinc past with glitter. 65x50 cm. Plensa 02.96

148 Sugai 01.90 Sugai 02.90

Kumi Sugai - Mirror. 1990. Litograph. 65x50 cm. Sugai 01.90 - Blue arrows. 1990. Litograph. 76x56 cm. Sugai 02.90 149 Sugai 03.90 Sugai 04.90 Sugai 05.90

Kumi Sugai - Red and blue. 1990. Litograph. 76x56 cm. Sugai 03.90 - Yellow arrow. 1990. Litograph. 76x56 cm. Sugai 04.90 - Big sun. 1990. Litograph. 76x56 cm. Sugai 05.90 150 Teixidor 02.74C Teixidor 04.74C Teixidor 05.74C

Jordi Teixidor - No title. 1974. Serigraph. 65x50 cm. Teixidor 02.74 - No title. 1974. Serigraph. 65x50 cm. Teixidor 04.74 - No title. 1974. Serigraph. 65x50 cm. Teixidor 05.74

151 Teixidor 01.74 Teixidor 06.74C

Jordi Teixidor - No title. 1974. Serigraph. 51x36 cm. Teixidor 01.74 - No title. 1974. Serigraph. 65x50 cm. Teixidor 06.74 152 Sempere 04.74C Sempere 07.00 Sempere 08.67C

Eusebio Sempere - Lithographic series. 1974. Litograph. 76x56 cm. Sempere 04.74C - No title. Serigraph. 67,5x49 cm. Sempere 07.00 - Album Nayar. 1967. Serigraph. 52,5x42,5 cm. Sempere 08.67C 153 Sempere 10.67C Sempere 11.67C

Eusebio Sempere - Album Nayar. 1967. Serigraph. 52,5x42,5 cm. Sempere 10.67 - Album Nayar. 1967. Serigraph. 52,5x42,5 cm. Sempere 11.67 154 Vieira Da Silva 01.59 Vieira Da Silva 02.74

María Elena Vieira da Silva - Green. 1959. Serigraph. 46x56 cm. Vieira da Silva 01.59 - Transylvania. 1974. Litograph. 50x58 cm. Vieira da Silva 02.74 155

WORLD’S MODERN AND CONTEMPORARY ART MASTERS

Artist's books, objets, watercolor and posters signed Prints XIX and XX

José Gutiérrez Solana/Manuel Sánchez Camargo. Litographs. 1963. Illustrated book by Solana and texts from Manuel Sánchez Camargo. The volume consists of 28 pages. Contains 4 lithographs on zinc of 34,5x32 cm, 29x24,5 cm, 32x44 cm and 34,7x42,7 cm. Lithographs signed on zinc without numbering. Book edited by Rafael Diaz-Casariego in 1963 in the city of Madrid, in the workshop of Dimitri Papageorgiou. Guarro paper, 250 gr. and 66x50,5 cm. Solana 02.63L 159 Pablo Picasso. Country. 1944. Book illustrated by Picasso and texts by Robert Desnos. Volume of 64 pages. Contains within it an engraving of Pablo Picasso entitled "Contrée" (Reference Picasso 05.43L. of 24,5x13,2 cm. in Paper Lafuma, 250 gr. of 28x19 cm.), Dedicated to Ludo-vic Marcus (being a copy of collaborators). Book edited by Robert-J.Godet in 1944 in the city of Paris in the workshop Durand. . 24,5x13,2 cm. Picasso 04.44L 160 Grau Sala/Francis Jammes. Almahide d'Étremont or The History Due Passionate Girl. 1955. Illustrated book by Grau Sala in 1955 and Francis Jammes texts. It consists of 72 pages. Contains within it a dry point. Justified Chuck / unsigned. Book edited by Marcel Lubineau in 1955 in the city of Paris in the workshop Dominique Viglino. Grau Sala 01.55L 161 Antoni Tàpies. The bread in the boat. 1970. Folder illustrated by Tàpies whose volume consists of 19 pages. It contains 19 engravings (two of which are duplex, with double signature and numbering) print in mixed media (etching, aquatint, lithograph and collages). The boow was edited by Sala Gaspar in 1970, in the workshop Photo Repro. All works are numbered and signed. Handmade paper of 250 gr. with watermark of the artist . Tàpies 01.70L

162 Antoni Clavé. Spain letters (1830-1833). 1944. Illustrated book by Clavé and texts Prosper Mérimée. The volume consists of 124 pages. Contains 27 lithographs on stone 23,5x16,5cm. Lithographs signed in zinc / unnumbered. Book edited by Édition Galatea in 1944 in the city of Paris in the workshop of Edmond Desjobert Lithographie. Lana paper of 250 gr. and 34,5x26 cm. Clavé 01.46L 163 Antoni Clavé. The Queen of Spades. 1946. Clavé illustrated book with texts by Alexander Pushkin. Volume of 78 pages, containing within ten lithographs on stone 21x14,5 cm. The edition is signed. 164 Paper published by Editions du Pre Aux Clercs in 1946 in the city of Paris in the workshop Edmond Desjobert (Henry Maillet). Rives BFK paper, 250 gr. and 32,5x25 cm. Clavé 02.44L Jackson Pollock. Pens and Papers. 2005. Mixed media. 9,5x59x41cm. Pollock 01.2005

165 Jasper Johns. Technics and creativity II: Gemini G.E.L. Target 1970 J.Johns. 1970. Mix media. 27x22.5 cm. Johns 02.70

166 Damien Hirst . Pharmacy. 2006. Installation or assembly consists of: cigarette pack represents a work detail Hirst, 2 boxes of matches, an ashtray and a letter from Restaurant Pharmacy. Hirst 02.00.

167 Damien Hirst .The death of god - Love, Lies, Bleedings. 2006. Offset . 84x59.5 cm. Hirst 01.2006 168 Antonio Saura . The morning of love. 1988. Illustrated by Antonio Saura and manuscript fragment poem of Francisco Arrabal. Printing completed in July 1988 París.Typographical Texts: François Da Ros. Lithographs: Workshop Clot, Bramsen and Georges (Paris). Book size 16x24 cm. with unpublished 169 poems written by hand in characters Paganini and illustrated by 4 original lithographs Saura double page. 16x24 cm. Saura 04.88L Roberto Matta. Don Qui?. 1985. It is editing C of a book of 104 pages contained within a cigar box "Don Qui?" With unpublished text of Matta himself "Don Complained of spots". The book contains 90 original lithographs. The book, published in Lugano by Sistan Editions in 1985, enjoys a circulation of three different editions: A, B and C. The C edition is distinguished from the others because from I to XV are cut into 6 parts each resulting lithographs 90 29 X 22 cm. This edition does not include the 10 stacks of Havana dossier. Chuck has 55 copies on Arches 200 gr. And the lithographs were shot in various workshops (Atelier Bordas, Jean Michel Ponty and Marc Humblet and IDL). The book is signed at 170 the end . 29 X 22 cm. Matta 02.85L Roberto Matta. Come detta dentro vo significando. 1962. Book illustrated by Matta with texts and poems of the artist. It consists of 67 pages in a single volume with Case 48.5 x 40.5 cm. Contains 25 Etchings of which 16 are signed .Edited by Georges Visat in 1962 in his Paris studio on BFK Rives paper of 250 gr. of 47x38,5 cm. and typographic texts Editions Meyer in Lausanne. The numbering justified at the end of the work, accompanied by embossing the editor (half moon crossed). This is the copy 93 of the 125 Edition: 100 (from 21 to 100 + XX HC BFK Rives) + Suit 25 ex. (HC +5 20 A to E, pearly Japan). 48,5x40,5 cm. Matta 03.62L 171 Roberto Matta. The end and the way. 1965. It is a book of 148 pages with texts by Jean Pierre Duprey and preface "Lettre rouge" by Alain Jouffroy. This issue is part of the suit that accompanies the first 55 copies published (unique to suit a total of 2.660). Suit containing two etchings by Matta printed in Atelier of Georges Visat in Paris, both signed and numbered 1 / 55 to 55/55. One of those(Matta 01.65L) is a triple copper 11x5,5 cm. on Japan paper of 16.5 x 42 cm. (triptych), and the other one (Matta 01.65Lbis) is a copper similar measures but black paper 18.7 x 13.5 cm. (triptych) copy of "The gangue du Mogol". (The triptych on Japan Matta signed another issue). The book covers, 172 which are lined with transparent paper on which is reproduced an original drawing by Matta, is inside of a plastic box of newspaper of the time. Matta 01.65L Fernando Botero. The Bathroom. 1989. Offset . 86,3x68 cm. Botero 01.89

173 Fernando Botero. In the Workshop. 1987. Offset . 84x59,3 cm. Botero 02.87 174 Aramis Ney. No title. 1981. Oil painting on corrugated cardboard. 111x99 cm. Ney 01.81

175 Leopold Survage . No title. 1951. Watercolor. 34,2x54 cm. Survage 01.51

176 Leopold Survage . No title. 1952. Watercolor. 48x33 cm. Survage 02.52 177 Roy Lichtenstein. Merton of the movies. 1968. Serigraph. 76,2x50,8 cm. Lichtenstein 01.68 178 Roy Lichtenstein. The Solomon R. Guggenheim Museum New York. 1969. Serigraph. 73x73 cm. Lichtenstein 02.69 179 Andy Warhol. Mick Jagger. 1975. Offset. 43x27,5 cm. Warhol 03.75 Andy Warhol. Tatum O'Neal. 1980. Offset. 43x27,5 cm. Warhol 02.80

180 WORLD’S MODERN AND CONTEMPORARY ART MASTERS

TECHNICAL CARD AND BIBLIOGRAPHY

Technical card and bibliography Prints XIX and XX

Pierre Alechinsky (1927, Bruselas) (Pags. 79, 80) - "Tardieu", 1990. Litograph of 65x50 cm., Arches paper of 250 gr. of 62x46 cm. Edition: 99, Copy 94. Editor: Lelong, Paris. Alechinsky 03.90 - “Prédateur", 1981. Litograph, Etching on cooper of 82,5x61 cm., Arches paper of 250gr. of 82,5x61 cm. Edition: 120,Copy 10. Editor: Lelong, Paris. Alechinsky 02.00

Eduardo Arroyo ( 1937, Madrid ) (Pags. 106, 107) - "The centenary of Alliance Israelite Universelle", 1976. Litograph of 38x57 cm., Paper Gry Velin d´Arches of 250 gr. of 45x61 cm. Edition: 100. Copy: 99. Arroyo 05.76 - "Felipe II", 1961. Litograph of 37x48,5 cm., Arches paper of 250 gr. of 50,5x66 cm. Edition: 70.Copy: 61. Arroyo 12.61 - "Cleopatra", 1991. Mixed media on cooper of 52,5x37 cm., Paper Michel of 240 gr. of 65x50 cm. Edition: 75+15 PA+3 HC+2 PT+2EC + VIII suite. Copy: 69 Arroyo 16.91 - "Maid of Teniers", 1991. Etching and Drypoint of 64,6x49,8 cm., Paper Fabriano of 285 gr. of 64,6x49,8 cm. Copy: 75+15PA+3 HC+2 PT+2 EC + VIII suite. Copy: 69. Arroyo 17.91 - "Portrait of Sebastian de Morra dwarf born in Cadaqués in the 1st half of the twentieth century", 1991. Etching on Cooper of 63,5x48 cm. Paper of 250gr. of 65x50 cm. Edition: 75+15 PA+3 HC+2 PT+2 EC + VIII suite. Arroyo 18.91 - "Vanitas", 1991. Mixed media on Cooper of 59,5x47 cm., Paper Michel of 240 gr. of 65x50 cm. Copy: 75+15 PA+3 HC+2 PT+2 EC + VIII suite. Copy: 69. Arroyo 19.91

André Beaudin (1895, Mennecy - 1979, Paris) (Pags. 43, 44) - "Le cheval blanc", 1953. Etching on Cooper of 23,7x40,2 cm., Paper of 200 gr. of 32,5x50,5 cm. Edition: 110,Copy 96. Beaudin 01.53 - “Composition aux personnages", 1967. Litograph of 32,5x48,8 cm., Paper BFK Copy 34. Beaudin 02.67

George Braque (1882, Argenteuil-sur-Seine - 1963, Paris) (Pag. 55) - “The Freedom of the Sea", 1959. Litograph of 56x38 cm., Japan paper of 175 gr. of 56x38 cm. Edition: 50 (Japan) + 200 (Arches) + HC. Copy HC. Braque 01.00 Bibliograph: 1. "Georges Braque. The lithographic work." Exhibition catalog ofr aufgestelt Herman wishes. Catalog, Fig.72. Gallery wishes Bonn. 1971. 2. "Multiple Territories." Itinerant exhibition from Arte 10 Gallery Collection around Castilla León: March-September 1999. Catalogue Pág. 32. Caja España. / 2.-"Georges Braque. Das Lithographische Werk". Katalog ofr Ausstellung aufgestelt von Herman Wünsche. Catalogue. Fig.72. Galerie Wünsche Bonn. 1971.

Bernard Buffet (1928, Paris - 1999, Tourtour (Francia)) (Pag. 78) - ”The wire-de-feriste: board of my circus", 1968. Litograph of 68x47,5 cm., Paper of 250 gr. of 72x51,5 cm. Edition: 120, Copy 41. Buffet 01.68 Bibliograph: 1. “BUFFET Bernard. Litographe II (1979-1986)". SORLIER Charles. 1987. 2. Rheims

183 Alexander Calder (1898, Filaoflfia - 1976, Nueva York) (Pag. 75) - “T'Dark invades my body ...”. Litograph of 72x103,4 cm., Arches paper of 250 gr. of 72x103,4 cm. Edition: 500, Copy 320. Calder 01.00

Edgar Chahine (1874, Venecia (Italia) - 1947, Francia) (Pags. 40,41) - "Louise France", 1902. Drypoint on Cooper of 41x29 cm., Paper Verjurado of 250 gr. of 52,5x35,7 cm., Copy not numbered. Chahine 01.02 Bibliograph: Tabanelli R. M.89 - “Ghemma of face", 1910. Drypoint on Cooper of 49,8x29,8 cm., Paper of 250 gr. of 58x37,8 cm. Copy not numbered. Chahine 02.10 Bibliograph: Tabanelli R. M.299

Sandro Chia ( 1946, Florencia ) (Pag. 113) - "Character in green frame", 1980. Litograph on Stone of 89,5x69,5 cm., Paper of 250 gr. of 89,5x69,5 cm. Edition: 75. Copy: 42. Chia 02.80

Eduardo Chillida (1924, San Sebastián - 2002, San Sebastián) (Pags. 126-129) - “The Amazed wonderful tribute to Joan Miró", 1973. Xilograph of 23x21,2cm., Arches paper of 250 gr. of 50,4x40,2 cm. Edition: 80, Copy 35. Editor: Le Vent d'Arles.. Chillida 85.73 Bibliograph: 1. Ficha 29 (1969). Fig. 59. 2. “Eduardo Chillida. Opus II. 1973. Van ofr Koelen Martin. Chorus-Verlag. Munchen 1997, pp. 72-73 cat. 73040”. 3. Iolas-Velasco 1977, p.91. - "Black II", 1969. Xilograph of 40x40 cm. Japan paper of 50 gr. of 62,5x94,3 cm. Edition: 75, Copy 5. Workshop: Erker-Presse, St: Gallen. Editor: Erker- Verlag, St. Gallen. Chillida 46.69 Bibliograph: 1. Ficha 29 (1969). Fig. 59. 2. "Eduardo Chillida. Opus I. 1959 - 1972". Van ofr Koelen Martin. Catalog. Chorus-Verlag. Munchen 1999. Pág. 166-167. cat. 69004. 3.-Iolas-Velasco/Maeght 1977/78, p.28. 4. - Ulmer Museum, Ulm 1972, p. 34. G. 55 / F. p. 114 / B.-B. 61 - "Black I", 1969. Xilograph of 40x40 cm., Japan paper of 50 gr. of 62,5x94,3 cm. Edition: 75, Copy 5.Workshop: Erker-Presse, St. Gallen. Editor: Erker- Verlag, St. Gallen. Chillida 45.69 Bibliograph: 1. Ficha 29 (1969). Fig. 59. 2. "Eduardo Chillida. Opus I. 1959 - 1972". Van ofr Koelen Martin. Catalog. Chorus-Verlag. Munchen 1999. Pág. 166-167. Cat. 69004. 3. Iolas-Velasco/Maeght 1977/78, p.28. 4. Ulmer Museum, Ulm 1972, p. 34. G. 54 / F. 41 / B.-B. 60 - "Black V", 1969. Xilograph of 40x40 cm., Japan paper of 50 gr. of 62,5x94,3 cm. Edition: 75. Copy: 5. Chillida 49.69 Bibliography: 1.- Ficha 29 (1969). Fig. 63. 2.-"Eduardo Chillida. Opus I. 1959 - 1972". Van der Koelen Martin. Catálogo. Chorus-Verlag. Munchen 1999. Pág. 174-175. cat. 69008. 3.-Iolas-Velasco/Maeght 1977/78, p.29. 4.- Ulmer Museum, Ulm 1972, p. 36.

Martín Chirino ( 1925, Las Palmas of Gran Canaria ) (Pags. 114, 115) - "Africa tool", 1991. Etching on Zinc of 50x80 cm., Paper Michel of 400 gr. of 76x112 cm. Edition: 30+3PA+3PT+1HC. Copy: 19. Chirino 29.91 - "Chronicle of the twentieth century", 1991. Etching on Zinc of 50x80 cm., Paper Michel of 400 gr. of 76x112 cm. Edition: 30+3PA+3PT+1HC. Copy: 24. Chirino 31.91 - "Balos", 1991. Etching on Zinc of 60x80 cm., Paper Michel of 400 gr. of 117x112 cm. Edition: 39+3PA+3PT+1HC. Copy: 98. Chirino 32.91 - "Sky of Tinoca", 1991. Etching on Zinc of 50x80 cm. Paper Michel of 400 gr. of 76x112 cm. Edition: 30+3PA+3PT. Copy: 24. Chirino 45.91

184 Antoni Clavé (1913, Barcelona - 2005, Saint Tropez (Francia)) (Pags. 111, 112) - “The girl in the cage", 1950. Litograph of 47,6x33,8 cm., Arches paper of 250 gr. of 56,5x38 cm. Edition: 200, Copy 2. Editor: Guilde of la Gravure. Clavé 53.50 Bibliograph Passeron 27 - "Domenikos G", 1965. Etching and Aquatint on Metal (Zinc) of 25x32 cm. Arches paper of 250 gr. of 50x65 cm. Edition: Ed. 1965: 24 / Ed. 1977: 24 + VI EA + VI HC . Copy: EA III. Clavé 21.65 - "La Feuille", 1960. Litograph on Stone of 53x72 cm., Paper BFK Rives of 250 gr. of 56x76 cm. Edition: 50 + 10 PA. Copy: 5. Clavé 22.60 - "L´ÉPÉE", 1965. Litograph on Stone of 60x43 cm. Paper B.F.K. Rives of 250 of 65,5x50 cm. Edition: 35 (30 on B.F.K. Rives + 5 JapanA/E). Copy: 3. Clavé 32.65

Guillaume Cornelis van Beverloo Corneille ( 1922, Lieja - 2010, Francia ) (Pags. 116, 117) - "1948", 1988. Etching and Aquatint on Metal of 39x25 cm. Paper of 250 gr of 80x60 cm. Edition: 125. Copy: 120. Corneille 02.88 - "1948", 1988. Etching and Aquatint on Metal of 31x38 cm. Paper of 250 gr of 80x60 cm. Edition: 125. Copy: 120. Corneille 03.88 - "1948", 1988. Etching and Aquatint on Metal of 25x38 cm. Paper of 250 gr of 80x60 cm. Edition: 125. Copy: 107. Corneille 04.88 - "1948", 1988. Etching and Aquatint on Metal of 34x38 cm. Paper of 250 gr of 80x60 cm. Edition: 125. Copy: 120. Corneille 05.88 - "Bariole bird ",1995. Litograph on Stone of 64x90 cm. Paper of 250 gr of 76x100 cm. Edition: 250. Copy: 132. Corneille 06.95 - "Paradise Lost ", 1998. Litograph on of 70, 5x54,5 cm., Paper BFK Rives of 250 gr. of 89x63,5 cm. Edition: 150. Copy: 17. Corneille11.98 - “Image of paradise ", 1998. Litograph on Stone of 66x49 cm., Paper of 250 gr. of 76x56,5 cm. Edition: 150. Copy: 31. Corneille 12.98

Giorgio de Chirico (1888, Bolos (Grecia) - 1978, Roma) (Pags. 76, 77) - “Sun and sea". Litograph of 64x46 cm., Paper of 200 gr. of 70x50 cm. Edition: 90, Copy 35.Editor: Alberto Capri, Roma. De Chirico 06.00 Bibliograph: Mellerio 148. - "Duality disturbing muses ", 1975. Etching of 32x23 cm. Arches paper France of 38x28 cm. Copy: C. Chirico 07.75

Equipo Crónica ( 1964, Valencia - 1981 ) (Pag. 97) - " The torture ", 1969. Serigraph of 63x45 cm., Paper Super Alfa of 250 gr. of 76x56 cm. Edition: 75+26 PA. Copy: 26AP. E.Crónica 02.69

Eugène Delacroix (1798, Francia - 1863, Francia) (Pags. 21, 22) - “Young tiger playing with his son ". Litograph of 11,3x19 cm., Paper of 150 gr. of 28,5x39,9 cm. Copy not numbered. Delacroix 01.00 Bibliograph: Oflteil.91 - " Jews from Algiers and a street in Algiers on one sheet ". Litograph of 11,1x16,4 cm., Paper of 150 gr. of 42x16 cm., Copy not numbered. Delacroix 02.00 Bibliograph: Oflteil.101

Sonia Delaunay (1885, Gradisk (Ucrania) - 1979, Paris) (Pag. 56) - "Andalusian Garden ", 1970. Litograph and Pochoir of 47x32 cm. Paper of 250 gr. of 59,5x42 cm. Edition: ?+XXV EA. Copy E.A. X / XXV. Delaunay 02.70 Bibliograph: “Multiple Territories" .Travelling Exhibition of the Collection Art 10 in Castilla León: March-September 1999. Catalog. Pág. 49. Caja España.

Maurice Denis (1870, Granville (Normyía) - 1943, Paris) (Pag. 33) - “Loneliness", 1928. Litograph of 19x27 cm. Paper of 200 gr. of 32,5x50 cm. Copy 16. Editor: Galerie of Peinares Graveurs. Denis 01.28 Bibliograph: C.146

Jean Dubuffet (1901, Le Havre - 1985, Paris (Francia)) (Pag. 73) - "The taste of the vacuum", 1959. Litograph on canvas/Stone of 49,5x40 cm. Arches paper of 250 gr. of 64x45 cm. Edition: 100.Copy : Proof. Editor: Berggruen et Cie, Paris. Dubuffet 01.59.

185 André Dunoyer de Segonzac (1884, Essonne (Francia) - 1974, Paris) (Pags. 34, 35) - “The big oak chaville". Etching on Cooper of 18,5x21,4 cm., Paper of 200 gr. Edition: 75., Copy 2. Henri. M. Petiet Collection. Dunoyer 01.00 Bibliograph: L. et C. 125 - " The big oak chaville" Etching on Cooper of 18,5x21,4 cm., Paper BFK Rives of 100 gr., Copy not numbered, scratched. Henri. M. Petiet Collection. Dunoyer 02.00 Bibliograph: L. et C. 125

Henri Fantin-Latour (1836, Grenoble (Francia) - 1904, Buré) (Pag. 23) - " The Embroiderers”, 1898. Litograph of 16,5x21,1 cm., Paper of 150 gr. of 21,6x27,5 cm. Copy signed, not numbered. Fantin-Latour 01.1898 Bibliograph: H. et M. 143

Léonard Foujita (1886, Tokyo - 1968, Zurich) (Pags. 46-48) - "No title". Litograph of 19,4x19,4 cm., Velin Arches paper of 25x25 cm. Edition: 150, Copy 119. Editor. Pierre Tartas, Paris. Foujita 05.00 - "Poetesse". Xilograph of 19,4x19,4 cm., Velin Arches paper of 25x25 cm. Edition: 80, Copy 24. Editor: Pierre Tartas, Paris. Foujita 03.00 - "Crucifixion", 1920. Litograph of 39,2x53 cm., Velin cream paper of 250 gr. of 47,5x63,5 cm., Copy not numbered. Foujita 01.20

Sam Francis (1923, California - 1994, California) (Pag. 105) - "SF-351”, 1992. Litograph of 76x56 cm. Paper of 250 gr. of 76x56 cm. Edition: 20 HC., Copy HC 11. Francis 01.92

Oswaldo Guayasamín ( 1919, Quito (Ecuador) - 1999, Baltimore ) (Pag. 119) - "Milay-3", 1973. Linocut of 56x70 cm., Guarro paper of 250 gr of 57x76 cm. Edition: 75. Copy: 55. Guayasamín 03.73 - "Milay-2", 1973. Linocut of 56x70 cm., Guarro paper of 250 gr of 57x76 cm. Edition: 75. Copy: 56. Guayasamín 04.73 - "Mascara-2", 1973. Linocut of 56x70 cm., Guarro paper of 250 gr of 57x76 cm. Edition: 75. Copy: 57. Guayasamín 06.73

Hans Hartung (1904, Leipzig - 1989, Antibes) (Pags. 67-72) - " No title ", 1970. Etching on Cooper of 75x105 cm., Velin Arches paper of 250 gr. of 75x105 cm. Edition: 40 Copy 7. Workshop: Gustavo Gili, Barcelona. Editor: Gustavo Gili, Barcelona, 1970. Hartung 20.70 - " No title ", 1970. Etching on Cooper of 75x105 cm., Velin Arches paper of 250 gr. of 75x105 cm. Edition: 40 Copy 7. Workshop: Gustavo Gili, Barcelona. Editor: Gustavo Gili, Barcelona, 1970. Hartung 21.71 - " No title ", 1970. Etching on Cooper of 75x105 cm., Velin Arches paper of 250 gr. of 75x105 cm. Edition: 40 Copy 7. Workshop: Gustavo Gili, Barcelona. Editor: Gustavo Gili, Barcelona, 1970. Hartung 22.71 - " No title ", 1970. Etching on Cooper of 75x105 cm., Velin Arches paper of 250 gr. of 75x105 cm. Edition: 40 Copy 7. Workshop: Gustavo Gili, Barcelona. Editor: Gustavo Gili, Barcelona, 1970. Hartung 24.71 - " No title ", 1970. Etching on Cooper of 75x105 cm., Velin Arches paper of 250 gr. of 75x105 cm. Edition: 40 Copy 7. Workshop: Gustavo Gili, Barcelona. Editor: Gustavo Gili, Barcelona, 1970. Hartung 23.71 - " No title ", 1971. Etching on Cooper of 52x80 cm., Velin Arches paper of 250 gr. of 75x105 cm. Edition: 75 , Copy 11. Workshop: Gustavo Gili, Barcelona. Editor: Gustavo Gili, Barcelona, 1971. Hartung 19.71 Bibliograph: 1. "Hans Hartung". The prints of the kite Collection. Fig. HH-42 Editorial Gustavo Gili S.A. 1971 Barcelona. 2. "Art Multi". 1989. Catalog. Fig. 57a-57b-57c-57d-57e. Art Multi, Paris.

Robert Indiana (1928, New Castle) (Pag. 98) - "The German four ", 1968. Serigraph of 60,3x60,3 cm., Cardboard paper of 300 gr. of 72,7x72,7 cm. Edition: 100, Copy 31. Indiana 03.68 Bibliograph: Susan Sheehan, Robert Indiana Prints, a Catalogue Raisonné 1951-1991, Susan Sheehan Gallery, New York, 1991, reproduit sous le nº 43, page 31.

186 Francisco Iturrino (1864, Santander - 1924, Cagnes-sur-Mer (Francia)) (Pags. 108, 109) - " Riders and Greyhound ". Etching and Aquatint on Cooper of 28,7x39,5 cm., Van Gelofr Zonen Paper of 250 gr. of 51x66 cm. Copy: Signed not numbered. Editor: Artist in Paris. Iturrino 01.00 Bibliograph: Francisco Iturrino. Fundation Social and Cultural Kutxa. Exhibition in Garibai, Donostia (San Sebastián) July/September 1996. Catalog, Page 202, Fine arts museum Bilbao. Nº inv. 83/178. - "Dance". Etching and aquatint of 39,6x48,2 cm., Arches France paper of 250 gr. of 49,5x65,5 cm. Copy: Signed not numbered . Editor: Artist in Paris. Iturrino 02.00 Bibliograph: Francisco Iturrino. Fundation Social and Cultural Kutxa. Exhibition in Garibai, Donostia (San Sebastián). July/September 1996. Catalog,Page195, Col. Kutxa, Caja Guipúzcoa San Sebastián, nº inv. D6-387.

Jasper Johns (1930, Augusta (Georgia)) (Pag. 100) - "Ballentine Ale". D'après 1960. Offset in color on aluminium of 15x10,5 cm., Paper Couché of 15x10,5 cm. Copy not numbered. Johns 03.00

Asger Jörn ( 1914, Vejrum (Jutlyia) - 1973, Aarhus ) (Pag. 118) - "No title", 1943. Litograph on Stone of 40x58 cm., Paper of of 40x58 cm. Edition: 50. Copy: EA. Jörn 01.43

Wifredo Lam (1902, Sagua la Grande - 1982, Paris) (Pags. 120, 121) - " No title ", 1965. Etching and Aquatint on Cooper of 27,5x15 cm., Paper of 250 gr. of 40x25cm., Copy EA. (D.T-R. Ne 6504). Lam 11.65 - " No title ", 1975. Litograph on Stone of 80x57 cm. Paper of 250 gr. of 97x69,5 cm. Copy: 101. Lam 03.00 - " No title ", 1975. Litograph on Stone of 80x57 cm. Paper of 250 gr. of 97x69,5 cm. Copy: 95. Lam 04.00

Marie Laurencin (1883, Paris - 1956, Francia) (Pag. 42) - "The Musician 1920. Litograph of 19,2x17,2 cm., Paper of 200 gr. of 19,2x17,2 cm. Edition: 110, Copy 34. Laurencin 02.20 Bibliograph: Marchesseau 35, 1920.

Louis Legrand (1863, Dijon (Francia) - 1951) (Pags. 37-39) - "La Toilet". Drypoint on Cooper of 20,2x14,2 cm., Pellet et Legrand Paper of 150 gr. of 44,5x31,2 cm. Edition: 65, Copy 51. Editor: G. Pellet. Legrand 01.00 Bibliograph: Passeron 27. A. 353; E. 264 - "After the toilet". Drypoint on Cooper of 20,2x14,2 cm., Pellet et Legrand Paper of 150gr of 44,5x31,2 cm. Edition: 50 Copy 14. Editor: G. Pelelt. Legrand 02.00 Bibliograph: Richard H. Axsom and David Platzker, Printed Stuff, Posters and Ephemera by Claes Olofnburg. A catalogue raisonné 1958-1996, Edition Hudson Hills Press, New York, 1997, reproduit sous le nº 250.3 page 419. Note: 103 27/10/06. A. 378; E. 267 - "After the toilet". Drypoint on Cooper of 20,2x14,2 cm., Pellet et Legrand Paper of 150 gr. of 41,3x31,7 cm. Edition: 50 Copy 17. Editor: G. Pelelt. Legrand 03.00 Bibliograph: Sorlier 157. A. 423; E. 306

Julio Le Parc ( 1928, Mendoza ) (Pags. 130, 131) - "La longue marche", 1975. Serigraph of 75x75 cm., Paper of 250 gr. of 75x75 cm. Edition: 200 (125+75). Copy: 11. Le Parc 01.75C - "La longue marche", 1975. Serigraph of 75x75 cm., Paper of 250 gr. of 75x75 cm. Edition: 200 (125+75). Copy: 11. Le Parc 03.75C - "La longue marche", 1975. Serigraph of 75x75 cm., Paper of 250 gr. of 75x75 cm. Edition: 200 (125+75). Copy: 11. Le Parc 04.75C - "La longue marche", 1975. Serigraph of 75x75 cm., Paper of 250 gr. of 75x75 cm. Edition: 200 (125+75). Copy: 11. Le Parc 05.75C - "La longue marche", 1975. Serigraph of 75x75 cm., Paper of 250 gr. of 75x75 cm. Edition: 200 (125+75). Copy: 11. Le Parc 06.75C - "No title" Serigraph of 100x70 cm. on Cardboard paper of 300 gr. of 100x70 cm. in Paris. Workshop: Silium. Edited by Denise René, Edition: 100. Copy: 10. Le Parc 17,75

187 Sol Lewitt (1928, Connecticut - 2007, Nueva York) (Pag. 104) - “No title". Litograph of 23,5x23,5 cm., Paper of 150 gr. of 42x42 cm., Copy EA. LeWitt 01.00 Bibliograph: 1. Master contemporary engravers. Exhibition in Berggruen & Cie. Paris.1970 2. Loreau / Webel

Bengt Lindström (1925, Storsjökapell) (Pags. 81-83) - "NO TITLE", 1990. Embossed and hand painted in Linocut of 53,5x64,5 cm., Handmade paper of 350gr. of 56,5x75 cm. Edition: 99., Copy. 23. Lindström 11.90 - "NO TITLE", 1990. Embossed and hand painted in Linocut of 54x65 cm., Handmade paper of 350 gr. of 58x76 cm. Edition: 99, Copy: 22. Lindström 12.90 - "NO TITLE", 1994. Mixed media of 72,5x53 cm., Handmade paper of 350 gr. of 72,5x53 cm. Edition: 99, Copy 50. Lindström 13.94

Maximilien Luce (1858, Paris - 1941, Paris) (Pags. 29-31) - " Portraits of Pissarro, writer at work, childrens… 1900. Litograph on Stone of 33x29 cm. Velin fort Paper of 150 gr.of 45x31,7 cm., Copy not numbered. Henri M. Petiet Collection. Luce 01.1900 - " Faces studies, mothers and children ", 1890. Drypoint on Cooper of 14,8x9,9 cm., Paper of 150 gr. of 30,5x22 cm. Copy: Signed not numbered. Collection Henri M. Petiet. Ens. 2 p. Luce 02.1890 - " Faces studies, mothers and children", 1890. Drypoint on Cooper of 21,9x6,2 cm., Arches Verjurado paper of 150 gr. of 30,5x22 cm., Copy not numbered. Luce 03.1890

Èdouard Manet (1832, Paris - 1883, Paris) (Pags. 24, 25) - "The Child with soap bubbles", 1868. Etching, Aquatint and roulette on Cooper of 35x24,5 cm., Paper of 200 gr. of 45x31,5 cm. Edition: 100. Copy not numbered. Editor: Strölin (1905). Henri M. Petiet Collection. Manet 01.1868 Bibliograph: Guerain 54 / F. 41 / B.-B. 60. - "Edgar Poe", 1894. Etching on Cooper of 19,4x150 cm., Paper of 150 gr. of 36,7x27 cm. , Copy not numbered. Editor: Dumont. Collection Henri M. Petiet. Manet 02.1894 Bibliograph: Guerain 55 / F. p. 114 / B.-B. 61.

André Masson ( 1896, Balaigny-sur-Thérain (Oise) - 1987, Paris ) (Pags. 132, 133) - "The dead", 1964. Etching and Aquatint on Metal of 23x33 cm., Paper Auverne of 250 gr. of 29,5x39 cm. Copy: 11. Masson 03.64 - "The dead", 1964. Etching and Aquatint on Metal of 23x33 cm., Paper Auverne of 250 gr. of 28,5x39 cm. Copy: 11. Masson 05.64 - "The dead", 1964. Etching and Aquatint on Metal of 23x33 cm., Paper Auverne of 250 gr. of 29x39 cm. Copy: 11. Masson 07.64 - "The dead", 1964. Etching and Aquatint on Metal of 23x33 cm., Paper Auverne of 250 gr. of 29,5x39 cm. Copy: 11. Masson 09.64 - "The dead", 1964. Etching and Aquatint on Metal of 23x33 cm., Paper Auverne of 250 gr. of 29,5x39 cm. Copy:11. Masson 10.64 - "The dead", 1964. Etching and Aquatint on Metal of 23x33 cm., Paper Auverne of 250 gr. of 29,5x39 cm. Copy: 11. Masson 11.64 - "NO TITLE", 1960. Litograph of 55x40 cm., Arches paper of 250 gr. of 66x50,5 cm. Copy: 25. Masson 12.60

Henri Matisse (1869, Le Cateau-Cambrésis - 1954, Niza) (Pags. 49-54) - "Reading, a profile", 1913. Litograph of 50,5x33 cm., Japan paper of 200 gr. of 50,5x33 cm. Edition: 50. Copy 23. Collection Henri M. Petiet. Matisse 09.13 Bibliograph: Duthuit-Garnaud 408. - " Seated Nude, right arm resting on the left shoulder", 1929. Etching on Cooper of 14,1x10 cm., Paper of 200 gr. of 38x28 cm. Edition: 28., Copy not numbered. Collection Henri M. Petiet. Matisse 07.29 Bibliograph: Duthuit-Garnaud 200. - " Figure Reading", 1929. Drypoint on Cooper of 14,1x10 cm., Edition: 26, Copy: proof. Collection Henri M. Petiet. Matisse 06.29 Bibliograph: Duthuit-Garnaud 149.

188 - " Josette gray - Figure in a chair", 1915. Etching on Cooper of 9x6,5 cm., Paper of 150 gr. of 27x19 cm. Edition: 15, Copy 12. Collection Henri M. Petiet. Matisse 05.15 Bibliograph: Duthuit-Garnaud 63. - " Josette gray col "Conventional",1914. Etching on Cooper of 9x6,6 cm. Paper of 150 gr. of 28x18 cm. Edition: 15., Copy: 8. Collection Henri M. Petiet. Matisse 04.14 Bibliograph: Duthuit-Garnaud 58. - "The black eyes", 1914. Litograph of 32,4x44,8 cm., Japan paper of 200 gr. of 50x33 cm. Edition: 50, Copy 28. Matisse 03.14 Bibliograph: Duthuit-Garnaud 411.

Roberto Matta (1911, Santiago de Chile - 2002, Italia) (Pags. 139-143) - “Living mortality: plancha 3", 1973. Etching and Aquatint on Cooper of 30 x 21,5 cm., Arches paper of 250 gr. of 47,5 x 32,5 cm. Edition: 100 Arches + XXV HC Arches (suite of 40 ej. + X HC en Japan), Copy: Proof. Workshop and Editor: Georges Visat, Paris. Matta 40.00 Bibliograph: Matta. Catalogue Raisonné of l'oeuvre gravé (1943-1974). Roly Sabatier. Editions Sonet - Georges Visat (Stockholm, Paris 1975). p. 136, fig. 346. - " Hom'mere III. The Ergonaute: The conmer", 1977. Etching and Aquatint on Cooper of 49,5 x 37,5 cm., Japan paper (suit) of 250 gr. of 67 x 51,5 cm. Edition: 100 + XXV HC (Arches) / suite 100 + 10 EA + XXV HC (Japan paper) Copy 76. Workshop and Editor: Georges Visat, Paris. Matta 58.77 Bibliograph: 1. Matta -Inofx ofll'Opera Grafica dal 1969 al 1980. Germana Ferrari. Viterbo Staofrini ed., 1980. pp. 77 -78, fig. 208. Album of 10 Etchings. 2. Matta -Estampas and Poemas- Exposición Diciembre 2001 - Enero 2002. Museo Casa of la Moneda. Madrid. pp. 126-127. - " Hom'mere III. The Ergonaute:Tranchetre”, 1977. Etching and Aquatint on Cooper of 49,5 x 37,5 cm., Japan paper (suit) of 250 gr. of 67 x 51,5 cm. Edition: 100 + XXV HC (Arches) / suite 100 + 10 EA + XXV HC (Japan) Copy 76. Workshop and Editor: Georges Visat, Paris. Matta 59.77 Bibliograph: 1. Matta -Inofx ofll'Opera Grafica dal 1969 al 1980. Germana Ferrari. Viterbo Staofrini ed., 1980. pp. 77 -78, fig. 209. Album of 10 Etchings. 2. Matta -Estampas and Poemas- Exposición Diciembre 2001 - Enero 2002. Museo Casa of la Moneda. Madrid. pp. 128-129. - " Hom'mere III. The Ergonaute: It explodes"", 1977. Etching and Aquatint on Cooper of 49,5 x 37,5 cm., Japan paper (suit) of 250 gr. of 67 x 51,5 cm. Edition: 100 + XXV HC (Arches) / suite 100 + 10 EA + XXV HC (Japan). Copy: 76. Matta 54.77 - " Hom'mere III. The Ergonaute: Paterminant Childhood"", 1977. Etching and Aquatint on Cooper of 49,5 x 37,5 cm., Japan paper (suit) of 250 gr. of 67 x 51,5 cm. Edition: 100 + XXV HC (Arches) / suite 100 + 10 EA + XXV HC (Japan). Copy: 76. Matta 55.77

Jean Miotte (1926, Paris) (Pags. 145, 146) - " Espiegel", 1991. Aquatint and Drypoint on Metal of 39.5x29.5 cm., Arches paper of 250 gr of 66x50 cm. Edition: 35. Copy: 2. Miotte 02.91 - " Mists", 1991. Aquatint and Drypoint on Metal of 51x41.5 cm. Arches paper of 250 gr of 66x50 cm. Edition: 100. Copy: 88. Miotte 03.91 - "Tropical", 1991. Aquatint and Drypoint on Metal of 64.5x47.5 cm. Arches paper of 250 gr of 76x56 cm. Edition: 40. Copy: 28. Miotte 04.91 - "Frankfurt", 1991. Aquatint and Drypoint on Metal of 65x47 cm. Arches paper of 250 gr of 76x57 cm. Edition: 100. Copy: 48. Miotte 05.91 - “The dream of the sorcerer", 1992. Litograph on Stone of 92x70 cm., Guarro paper of 250 gr of 92x70 cm. Edition: 99. Copy: 41. Miotte 07.92 - " Concept hieratic", 1992. Litograph on Stone of 92x70 cm. Guarro paper of 250 gr. of 92x70 cm. Edition: 99. Copy: 41. Miotte 08.92 - “Ballad", 1992. Litograph on Stone of 92x70 cm., Guarro paper of 250 gr. of 92x70 cm. Edition: 99. Copy: 40. Miotte 10.92

Joan Miró (1893, Montroig (Barcelona) - 1983, Palma de Mallorca) (Pag. 134) - " Water Bearer IV", 1962. Aquatint on Cooper of 56x75 cm. Paper Rives of 250 gr. of 56x75 cm. Edition: 75 + HC. Copy: 49. Miró 023.62

Henry Moore (1898, Castleford (Yorkshire) - 1986, Much Hadham) (Pag74) - “Nude", 1975. Litograph on Zinc of 27,5x24,5 cm., T H Saunofrs Paper of 250 gr. of 46 x 39 cm. Edition: 75 + X PA + 10 dedicated proofs. Copy:3. Workshop: Curwen Prints Ltd, Londres. Editor: Grafos Verlag, Vaduz. Moore 01.75 Bibliograph: 1. Grafos Verlag Originalgraphik moofrner Klassiker ofs 20. Jh. Grafos Verlag AG, Vaduz (Suiza), 1998-2001 CD. 2. “Henry Moore. Catalogue of graphic work vol. II 1973-1975". Gérald Cramer. Geneva 1976, cat nº 344.

189 Andrés Nagel (1947, San Sebastián (Guipúzcoa) ) (Pag. 147) - “Dog run over II", 1974. Litograph and collage on Stone on cardboard paper of 65x65,5 cm., Guarro paper of 65x65,5 cm. Edition: 50 + 5 PA + 5 HC. Copy: PA. Nagel 01.72 - "Hands", 1973. Etching, Aquatint and embossed on Zinc of 33,5x42 cm., Guarro paper of 250 gr of 71x52 cm. Edition: 75 + 7 PA + 7 HC. Copy: 28. Nagel 02.74

Pablo Picasso (1881, Málaga - 1973, Mougins (Francia)) (Pags. 60-63) - “The Water Bowl", 1905. Drypoint on Cooper of 12x18,5 cm., Paper of 250 gr. of 33x51 cm. Edition: 250, Copy not numbered and not signed. Editor: Ambroise Vollard, Paris 1913. Picasso 11.05 Bibliograph: 1. Bloch 8 2. Baer 10. T. 89 ét off. - “Saltimbanque at rest", 1905. Drypoint on Cooper of 12x8,5 cm., Paper of 250 gr. of 50,5x33 cm. Edition: 250, Copy not numbered and not signed. Editor: Ambroise Vollard, Paris, 1913. Picasso 12.05 Bibliograph: 1. Bloch 10 2. Baer 12. - "The dance", 1905. Drypoint on Cooper of 18,5x23 cm. Paper of 250 gr. of 33x50,5 cm. Edition: 250, Copy not numbered and not signed. Editor: Ambroise Vollard, Paris 1913. Picasso 13.05 Bibliograph: 1. Bloch 15 2. Baer 18. T. 299 - "The man with the vine arbor (D' après)". Etching on Cooper of 47x56 cm. Paper BFK Rives of 250 gr. of 56x76 cm. Edition: 300, Copy 192. Workshop and Editor: Crommelynck. Picasso 14.00

Camille Pissarro (1830, Saint Thomas - 1903, Paris) (Pags. 26, 27) - “Cowgirl in the water ", 1890. Etching on Cooper of 19,8x13,4 cm., Velin Paper of 120 gr. of 28,5x20 cm., Copy not signed and not numbered. Editor: Gazette of Beaux-Arts, Paris 1904. Pissarro 02.1890 Bibliograph: Oflteil 93. - “Bathers in the shade of wooded shorelines ", 1895. Litograph of 15,5x22 cm. Paper of 150 gr. of 41,5x60 cm. Edition: 100, Copy signed not numbered. Editor: L'estampe originale. Pissarro 01.1895 Bibliograph: D 142, Stein et Karshan 52.

Jaume Plensa ( 1955, Barcelona ) (Pag. 148) - "Interiors-III", 1992. Linocut, collage and Aquatint of 75.5x55 cm., Handmade paper of 250 gr. of 75,5x55 cm. Edition:45. Copy: 20. Plensa 01.92 - NO TITLE, 1996. Mix media on Stone + Zinc of 46,5x41,5 cm., Paper of 250 gr. of 65x50 cm. Edition: 99+20 PA+XX HC. Copy: HC XI/XX. Plensa 02.96

Odilon Redon (1840, Francia - 1916, Francia) (Pag. 36) - “Temptation of Saint Anthony ", 1896. Litograph of 13x15 cm., Paper of 250 gr. of 40x57 cm. Copy signed and not numbered. Redon 01.1896 Bibliograph: Mellerio 148. H. et M. 143

Auguste Rodin (1840, Paris - 1917, Meudon) (Pag. 28) - “Subscription Receipt for help to the American Hospital, Paris ", 1916. Drypoint on Cooper of 17, 8x11,4 cm., Paper of 150gr. of 25,2x16,5 cm., Copy not numbered. Rodin 01.16 Bibliograph: Thorson XIII; Oflteil N.D.

190 Mimmo Rotella (1918, Catanzaro (Calabria) - 2006, Milán) (Pags. 102, 103) - "Marilyn Ritmo 1963-76", 1996. Litograph Offset glued on canvas of 112x79 cm. Paper of 140x100 cm. Edition: 100, Copy 5. Editor: Galerie Lionne. Rotella 01.96 Bibliograph: Oflteil 91 - "Marilyn Ritmo 1963-76”, 1996. Lito-offset collage of 97,5x67,5 cm., White cardboard paper of 350 gr.of 115x80,5 cm., Copy PA. Rotella 02.96

Antonio Saura (1930, Huesca - 1998, Cuenca) (Pags. 135-138) - " The Seven Deadly Sins II (Laziness))", 1994. Litograph on Zinc of 56x75 cm., Arches paper of 250 gr. of 56x75 cm. Edition: 125+XXV+16 PA., Copy 54. Workshop: Atelier Clot, Paris. Editor: Editions of la Différence, Paris. Saura 16.94 Bibliograph: Antonio Saura. La Obra Gráfica. Catalogue Raisonné. Patrick Cramer, Éditeur. Pág. 691, Fig. 587.2. - " Novisaurias (Aurelia) “,1969. Etching and Aquatint on Metal of 76x55,6 cm., BFK Rives Paper of 250 gr of 76x55,6 cm. Edition: 50 + 4 PA+ 6HC. Copy: 32. Saura 25.69C - "Novisaurias (Ofelia)", 1969. Etching and Aquatint on Metal of 76x55,6 cm., BFK Rives Paper of 250 gr of 76x55,6 cm. Edition: 50 + 4 PA+ 6HC. Copy: 32. Saura 29.69C - " General Delivery nº1: addition " Mix media of76,5x115 cm. Workshop Lemoine on Arches paperof 250 gr. of 76,5x115 cm. in Paris in 1984. Edited by Maeght Lelong, Copy: 58 . Edition: 90 + 10 HC. Saura 34.84 Bibliograph: 1.-"Antonio Saura. La obra gráfica 1958-1984". Catalog. Mariuccia Galfetti. Prefaci Jean Frémon. Introducción Rainer Michael. Mason. Ministerio of Cultura. Dir. Gral. of BB.AA and archives. Madrid 1985. Pag 172 , fig. 358. 2.- Antonio Saura. La Obra Gráfica. Catalogue Raisonné. Patrick Cramer, Éditeur. Pág. 446,fig. 384.

Eusebio Sempere ( 1923, Onil (Valencia) - 1985, Onil (Valencia) ) (Pags. 153, 154) - " Lithographic series ", 1974. Litograph on Stone of 51,5x51,5 cm., Guarro paper of 250 gr. of 76x56 cm. Edition: 75 + XXV. Copy: 7. Sempere 04.74C - NO TITLE. Serigraph of 67,5x49 cm., Cardboard paper of 280 gr. of 67,5x49 cm. Edition: 100. Copy: 24. Sempere 07.00 - "Album Nayar", 1967. Serigraph of 37x29 cm., Cardboard paper of 350 gr of 52,5x42,5 cm. Edition: 50. Copy: 43. Sempere 08.67C - "Album Nayar", 1967. Serigraph of 37x29 cm., Cardboard paper of 350 gr of 52,5x42,5 cm. Edition: 50. Copy: 43. Sempere 10.67C - "Album Nayar", 1967. Serigraph of 37x29 cm., Cardboard paper of 350 gr of 52,5x42,5 cm. Edition: 50. Copy: 43. Sempere 11.67C

José Gutiérrez Solana (1886, Madrid - 1945, Madrid) (Pag. 110) - “NO TITLE”. Etching on Metal of 23,5x29 cm., Paper of 190 gr. of 50x65 cm., Copy signed not numbered. Solana 01.00 Bibliograph: Oflteil 93.

Pierre Soulages ( 1919, Roofz (Aveyron) ) (Pag. 57) - "Litho 34", 1974. Litograph on Stone of 60 x 40 cm., Arches paper of 250 gr. of 67,5 x 50,5 cm. Edition: 95. Copy: 29. Soulages 01.74

Kumi Sugai ( 1919, Kobe - 1996, Paris ) (Pags. 149, 150) - "Mirror", 1990. Litograph on Stone of 58x37 cm. Guarro paper of 250 gr of 65x50 cm. Edition: 99. Copy: 30. Sugai 01.90 - "Blue arrows", 1990. Litograph on Stone of 76x56 cm. Guarro paper of 250 gr of 76x56 cm. Edition: 99. Copy: 42. Sugai 02.90 - "Red and blue", 1990. Litograph on Stone of 76x56 cm., Guarro paper of 250 gr of 76x56 cm. Edition: 99. Copy: 30. Sugai 03.90 - "Yellow arrow", 1990. Litograph on Stone of 76x56 cm. Guarro paper of 250 gr of 76x56 cm. Edition: 99. Copy: 40. Sugai 04.90 - “Big sun ", 1990. Litograph on Stone of 76x56 cm. Guarro paper of 250 gr of 76x56 cm. Edition: 99. Copy: 41. Sugai 05.90

Rufino Tamayo (1899, Oxaca (México) - 1991, México) (Pag. 144) - "Chapter III", 1959. Litograph of 33x25,3 cm., Paper of 100 gr. of 33x25,3 cm. Copy not numbered. Tamayo 01.59 Bibliograph: 1. Juan Carlos Pereda, Rufino Tamayo, Catalogué Raisonné, Prints 1925-1991. 2.Fundación Olga and Rufino Tamayo and Turner Publicaciones, Madrid, 2004, reproduit sous le nº 61, pág. 81.

191 Antoni Tàpies (1923, Barcelona – 2012, Barcelona) (Pags. 122-125) - " Footprint ", 1987. Etching of 50x70 cm. Guarro paper of 250 gr. of 50x70 cm. Edition: 75, Copy 39. Tàpies 60.87 Bibliograph: Duthuit-Garnaud 411 - "Red foot", 1981. D'après 1963. Etching, Aquatint, carborundum and collage on Cooper irregular of 38,7x55,7 cm., Arches paper of 250 gr. of 56x76 cm. Edition: 75+XVIII+XVHC+15PA., Copy HC 10/15. Workshop: J. Barbará. Editor: Grados Verlag, Vaduz. Tàpies 102.81 Bibliograph: 1. "Tàpies. Obra Gráfica. 1979-1986". Mauriccia Galfetti. Catalog. P. 153, fig. 903. Editorial Gustavo Gili S.A. Barcelona, 1973. 2. Grafos Verlag Originalgraphik moofrner Klassiker ofs 20. Jh. Grafos Verlag AG, Vaduz (Suiza), 1998-2001 CD. - "Oval and red", 1987. Etching, resins and carborundum in different inks on Cooper of (2) 20x46 and 35,5x55 cms. Guarro paper of 250 gr. of 50x70 cm. Edition: 75+XVHC+6PA. Copy 13. Workshop: J. Barbará. Editor: Grados Verlag, Vaduz. Tápies 108.87 Bibliograph: 1. “Tàpies. Obra Gráfica. 1979-1986". Mauriccia Galfetti. Catalog. P. 258, fig. 1062. Editorial Gustavo Gili S.A., Barcelona, 1973. 2. Grafos Verlag Originalgraphik moofrner Klassiker ofs 20. Jh. Grafos Verlag AG, Vaduz (Suiza), 1998-2001 CD. Ens. 2 p - "Craft paper", 1971. Etching of 65,5x90cm. Paper Chiffon of 65,5x90 cm. Edition: 75. Copy: 47. Tàpies 118.71 - "Nocturn Morning ", 1970. Litograph on Stone of 57x77 cm. Guarro paper of 250 gr of 57x77 cm. Edition: 30+100+XV HC+1000. Copy: 97. Tápies 45.70

Jordi Teixidor ( 1941, Valencia ) (Pags. 151, 152) - "NO TITLE", 1974. Serigraph of 34x22 cm. Guarro Basik paper of 180 gr. of 51x36 cm. Edition: XV. Copy: IX. Teixidor 01.74 - "NO TITLE", 1974. Serigraph of 54x35 cm. Cardboard paper of 250 gr. of 64'9x50 cm. Edition: 150. Copy: 83. Teixidor 02.74C - "NO TITLE", 1974. Serigraph of 39x33 cm. Cardboard paper of 250 gr. of 64'9x50 cm. Edition: 150. Copy: 83. Teixidor 04.74C - "NO TITLE", 1974. Serigraph of 38x37 cm. Cardboard paper of 250 gr. of 64'9x50 cm. Edition: 150. Copy: 83. Teixidor 05.74C - "NO TITLE", 1974. Serigraph of 42,5x30,5 cm., Cardboard paper of 250 gr. of 64'9x50 cm. Edition: 150. Copy: 83. Teixidor 06.74C

Maurice Utrillo (1883, Paris - 1955, Paris) (Pag. 32) - “Place du Tertre and the Sacred Heart ", 1924. Litograph of 28x22 cm., Paper of 100 gr. of 43,5x29 cm. Copy not numbered. Workshop: Dujardin, Paris. Editor: François Bernouard, Paris. Collection Henri M. Petiet. Utrillo 02.24

Manolo Valdés ( 1942, Valencia ) (Pag. 101) - " Praying ", 1987. Etching on Metal of 96,5x63 cm., Arches paper of 250 gr of 96,5x63 cm. Edition: 50. Copy: 15. Valdés 04.87

Bram Van Velde ( 1895, Zoeterwouof - 1981, Grimaud (Francia) ) (Pags. 58, 59) - "NO TITLE", 1973. Litograph on Stone / aluminium of 46x36 cm., Paper of 250 gr of 54x41.5 cm. Edition: 120. Copy: 84.Van Velde 01.73 - "NO TITLE", 1973. Litograph on Stone / aluminium of 41x29 cm., Paper of 250 gr of 51x36 cm. Edition: 120. Copy: 88. Van Velde 02.73

Víctor Vasarely (1908, Pécs (Hungría) - 1997, Paris) (Pags. 84-86) - "Blue globe", 1980. Serigraph of 58x58 cm., Cardboard paper of 250 gr. of 67,5x64 cm. Edition: 200, Copy 78. Vasarely 04.80 Bibliograph: Duthuit-Garnaud 63 - "Tewek" Serigraph of 54x49 cm., Paper of 250 gr. of 81x72 cm. Edition: 250, Copy 171. Vasarely 01.00 Bibliograph: Duthuit-Garnaud 452 - "Kerek" Serigraph of 81,5x41 cm., Paper of 250 gr. of 109x65 cm. Edition: 250, Copy 139. Vasarely 02.00 Bibliograph: Duthuit-Garnaud 58

Jacques Villon (1875, Damville (Francia) - 1963, Puteaux) (Pag. 64) - “The call of life, boys". Etching and Drypoint on Cooper of 38,5x28,2 cm., Rives Paper of 250 gr. of 57,5x45,3 cm. Edition: 35. Copy 1.Villon 01.00 Bibliograph: Voir Mary L Corlett. The Prints of Roy Lichtenstein: a Catalogue Raisonné 1948-1997, Edition Hudson Hills Press, New York, 2002, reproduit sous le nº 83, page 107. Note: 84 27/10/06. C. of G. et C.P. 438

192 Salvador Victoria ( 1929, Rubielos of Mora (Teruel) - 1994, Madrid ) (Pags. 94-96) - “Circle cut", 1991. Etching and Aquatint on Zinc of 50x33,5 cm., BFK Rives Paper of 250 gr. of 76x56 cm. Edition: 99+10PA+6HC. Copy: 84. Victoria 01.91 - " Malva circle", 1991. Etching and Aquatint on Zinc of 50x33.5 cm., Paper BFK Rives of 250 gr. of 76x56 cm. Edition: 99+10PA+6HC. Copy: 92. Victoria 02.91 - "NO TITLE", 1986. Aquatint on Zinc of 49x32 cm., Guarro paper of 250 gr. of 75.5x56,5 cm. Edition: 15. Copy: 8. Victoria 03.86 - "NO TITLE", 1986. Aquatint on Zinc of 49x32.5 cm., Guarro paper of 250 gr. of 75,5x56,5 cm. Edition: 15. Copy: 8.Victoria 04.86 - "NO TITLE", 1974. Etching and Aquatint on of 35x37,5 cm., Guarro superalfa paper of 74x52,5 cm. Edition: 50+HC. Copy: HC. Victoria 05.74 - "NO TITLE", 1991. Aquatint on Zinc of 49x32.5 cm., Paper Superalfa of 250 gr of 76x56 cm. Edition: 99 + 10PA + 6HC. Copy: PA3. Victoria 06.91 - "Corolio I", 1992. Etching and Aquatint on of 49,5x35,5 cm., Arches paper of 250gr of 75,5x56,5 cm. Edition: 100+10PA+PT+XX. Copy: PA IX. Victoria 07.92 - " Microscope", 1993. Etching, Aquatint on Paper embossed of 49,5x32,5 cm., Arches paper of 250gr. of 76x56 cm. Edition: 20+5PA. Copy: PA1. Victoria 08.93 - " NO TITLE ", 1992. Serigraph of 60x38 cm., Guarro paper of of 70x50 cm. Edition: 100+10PA. Copy: PA VII. Victoria 09.92 - " NO TITLE ", 1993. Serigraph of 59x41 cm., Paper Fabriano 5 of of 69x49 cm. Edition: 100+10PA. Copy: PA 9. Victoria 10.93 - " NO TITLE ", 1993. Serigraph of 54x45 cm., Paper Fabriano 5 of of 69x49 cm. Edition: 100+10PA. Copy: PA. Victoria 11.93 - " NO TITLE ", 1986. Etching , Aquatint of 49x32,5 cm., Guarro paper superalfa of of 76x56,6 cm. Edition: 15+3PA. Copy: 12. Victoria 14.72 - " NO TITLE ", 1994. Serigraph of 49x26,5 cm., Guarro paper of 69x49 cm. Edition: 100+PA. Copy: 44. Victoria 15.73 - “Four and eat”, 1976. Serigraph of 50x45 cms., Folder with Fco. Echauz and Eduardo Sanz. Copy: PA. Victoria 16.76

María Elena Vieira Da Silva ( 1908, Lisboa - 1992, Paris ) (Pag. 155) - "Green", 1959. Serigraph of 34x45 cm., Handmade paper of 250 gr of 46x56 cm. Edition: 75. Copy: 26. Vieira Da Silva 01.59 - " Transylvania ", 1974. Litograph on Stone . Japan paper of 250 gr of 50x58 cm. Edition: 150. Copy: 130. Vieira Da Silva 02.74

Édouard Vuillard (1868, Cuiseaux - 1940, La Baule) (Pag. 45) - " The home ", 1899. Litograph of 34x27,5 cm., Paper of 150 gr. of 40x32,5 cm., Copy HC. Henri M. Petiet Collection. Vuillard 01.1899 Bibliograph: 1. Rogr-Marx 39. 2. Liore et Cailler 125

Andy Warhol (1928, Pittsburgh (Pennsylvania) - 1987, Nueva York) (Pag. 99) - “Cologne Cathedral", 1985. Serigraph with diamonds of 100x80 cm., Paper of 300 gr. of 100x80 cm. Edition: 60 + 15 AP + 6 PP + 15 HC+ 80 TP .Copy 4. Workshop: Rupert Jasen Smith,Nueva York.Editor: Hermann Wünsche, Nueva York. Warhol 05.85 Bibliograph: Andy Warhol Prints, a Catalogue Raisonné. Edited by Frayda Feldman and Jörg Schellmann. Pág. 115, fig. 364.

José Mª Yturralde ( 1942, Cuenca ) (Pags. 89-93) - "NO TITLE", 1974. Serigraph of 65x50 cm., Cardboard paper of 300 gr. of 65x50 cm. Edition: 150. Copy: Yturralode01.74C - "NO TITLE", 1974. Serigraph of 65x50 cm., Cardboard paper of 300 gr. of 65x50 cm. Edition: 150. Copy: Yturralde 02.74C - "NO TITLE", 1974. Serigraph of 65x50 cm., Cardboard paper of 300 gr. of 65x50 cm. Edition: 150. Copy: Yturralde 03.74C - "NO TITLE", 1974. Serigraph of 65x50 cm., Cardboard paper of 300 gr. of 65x50 cm. Edition: 150. Copy: Yturralde 04.74C - "NO TITLE", 1974. Serigraph of 65x50 cm., Cardboard paper of 300 gr. of 65x50 cm. Edition: 150. Copy: Yturralde 05.74C - "NO TITLE", 1972. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 125. Copy: Yturralde 07.72 - "NO TITLE", 1971. Serigraph of 62,5x47,5 cm., Cardboard paper of 350 gr. of 62,5x47,5 cm. Edition: 125. Copy: Yturralde 08.72 - "NO TITLE", 1972. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 125. Copy: Yturralde 09.72 - "NO TITLE", 1972. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 125. Copy: Yturralde 10.72 - "NO TITLE", 1972. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 150. Copy: Yturralde 11.72 - "NO TITLE", 1971. Serigraph of 52,5x48,5 cm., Cardboard paper of 350 gr. of 52,5x48,5 cm. Edition: 125. Copy: Yturralde 12.71 - "NO TITLE", 1972. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 125. Copy: Yturralde 13.72 - "NO TITLE", 1972. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 125. Copy: Yturralde 14.72 - "NO TITLE", 1971. Serigraph of 62,5x48 cm., Cardboard paper of 350 gr. of 62,5x48 cm. Edition: 125. Copy: Yturralde 15.71

193 - "NO TITLE", 1971. Serigraph of 63,5x48,5 cm., Cardboard paper of 350 gr. of 63,5x48,5 cm. Edition: 125. Copy: Yturralde 16.71 - "NO TITLE", 1972. Serigraph of 69x60,5 cm., Cardboard paper of 350 gr. of 69x60,5 cm. Edition: 125. Copy: Yturralde 17.72 - "NO TITLE", 1972. Serigraph of 82x61,5 cm., Cardboard paper of 350 gr. of 82x61,5 cm. Edition: 125. Copy: Yturralde 18.72 - "NO TITLE", 1972. Serigraph .Cardboard paper of 350 gr. of cm. Edition: 125. Copy: Yturralde 19.73

Jean Pierre Yvaral (1934, Paris - 2002, Paris) (Pags. 87, 88) - "NO TITLE". Serigraph of 60x60 cm., Cardboard paper of 250 gr. of 66,5x66,5 cm. Edition: 200, Copy 13. Yvaral 02.00 Bibliograph: Edition realized to Exhibition in Hilario Galguera Gallery, México, 23 Feb-27 Ago '06. Note: cd 30/01/08 0209 - "NO TITLE". Serigraph of 60x60 cm., Cardboard paper of 250 gr. of 66,5x66,5 cm. Edition: 200, Copy 13. Yvaral 01.00 Bibliograph: Duthuit-Garnaud149

Zao Wou Ki (1921, Pekín) (Pags. 65, 66) - "The Fishing", 1951. Drypoint on Metal of 14,7x24,6 cm., Paper of 250 gr. of 27,7x38 cm. Edition: 30., Copy 25. Workshop: Le Blanc, Paris. Zao Wou Ki 01.51 Bibliograph: 1. Agerup 57. 2. Yves Rivière 59, p. 38 nº 59. - " Engraving 161 ", 1965. Etching and Aquatint on Metal of 44,4x39,1 cm., Paper of 250 gr. of 76,5x56,4 cm. Edition: 90,Copy 16. Zao Wou Ki 01.65 Bibliograph: 1. Territories." Itinerant exhibition from Arte 10 Gallery Collection around Castilla León: March-September 1999. Pág. 113. Caja España. 2. Agerup 161. Note: 42 25/03/07

194 Technical card and bibliography of Artist's Books

José Gutiérrez Solana/Manuel Sánchez Camargo "Litographs", 1963. (Pag. 159) - Book illustrated by Solana (1886-1945, Madrid) and Manuel Sanchez Camargo's texts. The volume consists of 28 pages. It contains 4 lithographies realized on zinc of 34,5x32 cm, 29x24,5 cm, 32x44 cm, and 34,7x42,7cm. Lithographies signed not numbered. Book edited by Rafael Díaz-Casariego in 1963 in Madrid, in Dimitri Papageorgiu's workshop. Guarro watermark paper of 250 gr. and of 66x50,5 cm. Edition of 7 (I toVII) +29 (A to Z) +230+10 (VIII to XVII) +3 (XVIII to XX). Proof: 21. Solana 02.63L

Pablo Picasso / Robert Desnos. " Country ". 1944. (Pag. 160) - Book illustrated by Picasso (1881, Malaga - 1973, Mougins - France-) and Robert Desnos's texts. Volume of 64 pages. It contains in his interior a Paul Picasso's engraving tittled “Contrée” (Picasso Index 05.43L), dedicated to Ludo-vic Marcus (being a collaborators' proof). Engraving without sign, numbered. Book edited in 1944 in Paris. Technical information of the work: etching of 24,5x13,2 cm. Lafuma watermark paper of 250 gr. of 28x19 cm. Edition of 3PA+X+200+ofdicated. Workshop: Durand, Paris. Edited: Robert-J.Gooft, Paris. Picasso 04.44L

Emilio Grau Sala/Francis Jammes." Almaïde d'Étremont or The History Due Passionate Girl ". 1955 (Pag. 161) - Book illustrated by Grau Sala in 1955 and Francis Jammes's texts. It has got 72 pages. It contains in his interior a drypoint. Justified the edition without sing. Book edited by Marcel Lubineau in 1955 in Paris, in the workshop of Dominique Viglino. Technical information of the work: drypoint realized on copper of 28,5x18,5 cm. Vélin of Rives paper of 250 gr. of 28,5x18,5 cm. Edition (30+70+350) +20PA+XXHC. Proof: 5. Grau Sala 01.55L

Antoni Tàpies. “The bread in the boat ". (1970) (Pag. 162) - Illustrated by Tàpies (1923, Barcelona) folder whose volume consists of 19 pages. Thus contains the same 19 prints (two of which are double-sided, double signature and numbering) made with mixed media (etchings, aquatints, lithographs, serigraphs and, above all, collages.Edition: 40 (suite)+70+XV+10HC. Copy: 27. Tàpies 01.70L Bibliograph: "Tápies . Obra Gráfica. 1947-1972". Catalog . Pag 40 a 49. Editorial Gustavo Gili S.A. Barcelona. 1973.

Antoni Clavé / Alexanedre Pouchkine. " The Pique Dame of ", 1946. (Pag. 163) - Book illustrated by A. Clavé (1913, Barcelona) and Alexandre Pouchkine's texts. Volume of 78 pages, containing in his interior ten lithographies realized of 21x14,5 cm. Book edited by Editions du Pre Aux Clercs in 1946 in Paris, in Edmond Desjobert's workshop (Henry Maillet). BFK watermark Rives paper of 250 gr. and of 32,5x25 cm. Edition of 10+10+10+270 + PA+HC. Copy: HC. Clavé 01.46L

Antoni Clavé / Prosper Mérimée. “Spain letters (1830-1833)", 1944 (Pag. 164) - Book illustrated by A. Clavé (1913, Barcelona) and Prosper Mérimée's texts. The volume has got 124 pages. It contains 27 lithographies of 23,5x16,5cm. Lithographies signed, not numbered. Book edited by Edition Galatea in 1944 in Paris, in Edmond Desjobert Lithographie's workshop. Lana watermark paper of 250 gr. of 34,5x26cm. Edition of 17+27 + 10+221+XXV. Copy: 135. Clavé 02.44L

Jackson Pollock (1912, Cody (EE.UU) - 1956, Springs (EE.UU) ) (Pag. 165) - "Pens and Papers", 2005. Mix media of 9,5x59x41(closed box) cm., Paper of 9,5x59x41(closed box) cm. Edition: 350 +50. Pollock 01.2005

Jasper Johns (1930, Augusta (Georgia)) (Pag. 166) - "Technics and creativity II: Gemini G.E.L. Target 1970 J.Johns", 1970. Mix media (Litograph+ pasted objects: brush with red tempera, yellow and blue) of 26,3x21,3 cm., Cardboard paper of 400 gr. of 27x22,5 cm. Johns 02.70 195 Damien Hirst (1965, Bristol ) (pág. 184,192) (Pags. 167, 168) - "The death of god - Love, Lies, Bleedings", 2006. Offset color on aluminum of 84x59,5 cm., Couché paper of 150 gr. of 84x59,5 cm. Copy: not numbered. Hirst 01.2006 Bibliography. - Edition realized to Hilario Galguera Gallery, México,23 Feb-27 Ago '06. Note: cd 30/01/08 0209. - "Pharmacy". Installation or assembly comprising: a pack of cigarettes representing detail of a work by Hirst, 2 boxes of matches, an ashtray and a letter from Restaurant. Hirst 02.00

Antonio Saura/Francisco Arrabal. “The Matins of love”. 1988 (Pag. 169) - Illustrated by Antonio Saura and manuscript fragment of Francisco Arrabal's poem. Printed in July, 1988 in Paris. Press of typographical texts: François Da Ros. Size of the book: 16x24 cm. With unpublished poems composed to hy in characters Paganini and illustrated by 4 Saura's original lithographies to double page. Total edition: 80 copies of which: From 1/75 to 75/75 they are signed on Japan Sekishu paper. 5 HC of I/V HC to V/V HC. The proofs of 1/75 to 12/75 contain a manuscript fragment of Francisco Arrabal's poem on an original drawing to Saura's in indian ink signed to pencil both for the poet and for the artist. Workshop: Clot, Bramsen and Georges, Paris. Proof: 3. Saura 04.88L

Roberto Matta/Jean Pierre Duprey. “The end and marniera”. 1965 (Pag. 170) - It is a book of 148 pages composed by Jean Pierre Duprey's texts and introduction “Lettre rouge “ofAlain Jouffroy. This proof is a part of the suit who accompanies on the first 55 published proof (only ones with suit of a whole of 2.660), suit that contains two Matta's etchings stamped on the Atelier of sweet height Georges Visat in Paris, both signed and numbered 1/55 to 55/55. One of them (Matta 01.65L) is a triple copper of 11x5,5 cm. on Japan paper of 16,5 x 42 cm., and other one (Matta 01.65Lbis) is a copper of similar measures but on black cardboard of 18,7 x 13,5 cm., reply of " The gangue du Mogul ". (Matta signed some another proof in the engraving on Japan paper). The book is Matta's original volume. The cover of the book, wich is wrapped with transparent paper, has a reproduced Matta's original drawing. This drawing is insiof of a casing wrapped of a newspaper of the epoch. Workshop: Georges Visat, Paris. Publisher: Le soleil noir, Paris. Proof: 12. Matta 01.65L Bibliography: Matta. Catalogue Raisonné of l'oeuvre I burofned (1943-1974). Roly Sabatier. Editions Sonet - Georges Visat (Stockholm, Paris 1975). P. 71, figs. 135, 135 bis.

Roberto Matta. “Who Don?” 1985 (Pag. 171) - The book is the edition C of a book of 104 pages contained inside a box of cigars “Don Qui?”, with unpublished text of Matta "Don Quejado de la Mancha". Of the 104 pages that the book consists, 90 are original lithographies. The book is edited in Lugano by Sistan Editions in 1985. It has got three different editions: A, B and C. The edition C differs from others because that the proof I to XV are cut in 6 parts each of them giving as result 90 lithographies of 29 X 22 cm. each one. This edition does not incluof 10 proof of the dossier Havana. The edition consists in 55 proofs on Arches paper of 200 gr. and the lithographies were edited in different workshops: Atelier Bordas, Jean Michel Ponty and Marc Humblet and IDL. The book is singed. Proof: 16C. Matta 02.85L Bibliography: Matta. Estampas and Poemas- Exhibition Ofcember 2001 - January 2002. Casa of la Moneda Musuem. Madrid. Catalogue, pp. 201-205 // "Matta. Ceres Ceresa Heres La Tierra". Exhibition May - July 1999. Almirante Gallery. Madrid. Catalogue, pp. 60-63

Roberto Matta. “Come detta dentro vo significando” 1962. (Pag. 172) - It is a book illustrated by Matta (1911, Santiago of Chile) with texts and poems of the own artist. It consists of 67 pages in the only volume with casing of 48,5 x 40,5 cm. It contains 25 etchings, 16 of which are signed. Edited by Georges Visat in 1962 in his workshop of Paris on B.F.K Rives paper of 250 gr. and of 47x38,5cm. and Editions Meyer's typographical texts in Lausanne. The numeration justified at the end of the work, accompanies of dry stamp of the publisher (crossed half moon). Edition of 125: 100 (from 21 to 100 + the XX HC in BFK Rives paper) + Suit of 25 (20 +5 HC of A to E, in Japan paper). Copy: 93. Matta 03.62L Bibliography: Matta. Catalogue Raisonné of l'oeuvre gravé (1943-1974). Roly Sabatier. Editions Sonet - Georges Visat (Stockholm, Paris 1975) p. 50, figs. 59-83.

Fernando Botero (1932, Medellín (Colombia) -) (Pags. 173, 174) - " The Bathroom ", 1989. Offset of 77,3x64 cm., Cardboard paper of 180 gr. of 86,3x68 cm. Copy signed but not numbered. Botero 01.89 - "In the Workshop ", 1987. Offset of 60,8x48,8 cm., Cardboard paper of 100 gr. of 84x59,3 cm. Signed but not numbered. Botero 02.87

Aramis Ney ( 1943, Monteviofo ) (Pag. 175) - "NO TITLE", 1981. Oil painting on corrugated cardboard.of 111x99 cm., Paper of 111x99 cm. Ney 01.81

196 Leopold Survage (1879, Moscú - 1968, París ) (Pags. 176, 177) - "S/T", 1951. Watercolor on paper, Fabriano paper of 250 gr. of 34,2x54 cm. Edition: 1/1., Proof: 1.Place of edition: Casciana (Russia). Survage 01.51 Bibliography. Duthuit-Garnaud 203 - "S/T", 1952. Watercolor on paper, Johannot paper of 250 gr. of 48x33 cm. Edition: 1/1., Proof: 1.Place of edition: Casciana (Russia). Survage 02.52 Bibliography. Duthuit-Garnaud 408

Roy Lichtenstein (1923, Nueva York - 1997, Nueva York). (Pags. 178, 179) - "The Solomon R. Guggenheim Museum New York", 1969. Colors silk-screen printing of 73x73 cm. Cardboard paper of 200 gr. of 73x73 cm., Proof: not numbered. Publisher: Mary L Corlett. Lichtenstein 02.69 Bibliography. - The Prints of Roy Lichtenstein: a Catalogue Raisonné 1948-1997, Edition Hudson Hills Press, New York, 2002, reproduit sous le nº 83, page 107. Note: 84 27/10/06. - "Merton of the movies", 1968. Color silk-screen printing of 76,2x50,8 cm. Shine cardboard paper of 250 gr. of 76,2x50,8 cm. Edition: 450., Proof: A/P. Publisher: List Art Poster. Lichtenstein 01.68 Bibliography. - Mary L Corlett. The Prints of Roy Lichtenstein: a Catalogue Raisonné 1948-1997, New York, 2003, reproduit sous le nº 61, page 93. Note: T 166 02/02/06.

Andy Warhol (1928, Pittsburgh (Pennsylvania) - 1987, Nueva York) (Pag. 180) - "Tatum O'Neal", 1980. Offset color on aluminum of 43x27,5 cm., Laid paper of 60 gr. of 43x27,5 cm. Copy: not numbered. Jess Petersen Collection (Berlin). Warhol 02.80 - "Mick Jagger", 1975. Offset color on aluminium of 43,2x27,3 cm., Laid paper of 60 gr. o f 4 3 x 2 7 , 5 c m . , C o p y : n o t n u m b e r e d . Warhol 03.75

197

P I E R R E A L E C H I N S K Y E D U A R D O A R R O Y O A N D R É B E A U D I N

F E R N A N D O B O T E R O G E O R G E B R A Q U E B E R N A R D B U F F E T

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G I O R G I O D E C H I R I C O E Q U I P O C R Ó N I C A E U G È N E D E L A C R O I X

S O N I A D E L A U N A Y M A U R I C E D E N I S J E A N D U B U F F E T

A N D R É D U N O Y E R D E S E G O N Z A C H E N R I F A N T I N - L A T O U R

L É O N A R D F O U J I T A S A M F R A N C I S O S W A L D O G U A Y A S A M Í N

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J E A N M I O T T E J O A N M I R Ó H E N R Y M O O R E A N D R É S N A G E L A R A M I S N E Y

P A B L O P I C A S S O C A M I L L E P I S S A R R O J A U M E P L E N S A J A C K S O N P O L L O C K

O D I L O N R E D O N A U G U S T E R O D I N M I M M O R O T E L L A A N T O N I O S A U R A

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K U M I S U G A I L E O P O L D S U R V A G E R U F I N O T A M A Y O A N T O N I T À P I E S

J O R D I T E I X I D O R M A U R I C E U T R I L L O M A N O L O V A L D É S B R A M V A N V E L D E

V Í C T O R V A S A R E L Y J A C Q U E S V I L L O N S A L V A D O R V I C T O R I A

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