Equipo Cronica Sold at Auction Prices

b. 1964 - d. 1981

See Artist Details

0 Lots

Sort By:

Categories

Auction Date

Seller

Seller Location

Price Range

to
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Constitición". Silkscreen on paper, copy III/XX. Signed and justified by hand.
    Sep. 07, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Constitición". Silkscreen on paper, copy III/XX. Signed and justified by hand.

    Est: €1,600 - €1,800

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Constitición". Silkscreen on paper, copy III/XX. Signed and justified by hand. Measurements: 52 x 38 cm, 69 x 54 cm (frame). Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their style involved a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Las bolas", series "El Billar", 1978. Lithograph in 7 colors on Arches paper, copy 24/100. Signed and numbered in pencil. Edited by Maeght Gallery, Barcelona.
    Jul. 14, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Las bolas", series "El Billar", 1978. Lithograph in 7 colors on Arches paper, copy 24/100. Signed and numbered in pencil. Edited by Maeght Gallery, Barcelona.

    Est: €1,200 - €1,400

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Las bolas", series "El Billar", 1978. Lithograph in 7 colors on Arches paper, copy 24/100. Signed and numbered in pencil. Edited by Maeght Gallery, Barcelona. Measurements: 47 x 61 cm; 62 x 82 cm (frame). In the series "El billar", the table, the balls and the cue are presented as a metaphor to explore the limitations of painting, using unconventional colors and elements of the black genre. Although this is not the case in the ejeplar en licitación, in the aforementioned Equipo Crónica series he also incorporates references to personal objects, such as pencils and notebooks, which add an autobiographical element to the series. Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical bases of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their style involved a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand.
    Jul. 14, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand.

    Est: €3,500 - €4,000

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand. Measurements: 112 x 77 cm. Representative work of the critical and pop language characteristic of Equipo Crónica, a fundamental group in the renovation of contemporary Spanish art. The composition, clearly inspired by Picasso, reinterprets the female figure through a cubist fragmentation and a flat and vibrant chromatism, establishing a direct dialogue with the historical avant-garde. In the center of the scene appears an "identity card" that simulates an ID card of Pablo Picasso, an ironic resource that introduces a reflection on the appropriation of cultural icons, the construction of identity and the mechanisms of bureaucratic control. With its collage aesthetics and its sharp conceptual charge, this silkscreen is a notable example of the group's graphic production. Equipo Crónica was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo (who soon left the group) and Rafael Solbes, whose death put an end to the project. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • Equipo Crónica (Valencia, 1964–1981). “Pelea” from the Serie Negra, 1975. Silkscreen print on Arches paper, EA 26/30. Signed and numbered by hand. Published by Galería Juana Mordó, Madrid, and...
    Jul. 14, 2026

    Equipo Crónica (Valencia, 1964–1981). “Pelea” from the Serie Negra, 1975. Silkscreen print on Arches paper, EA 26/30. Signed and numbered by hand. Published by Galería Juana Mordó, Madrid, and...

    Est: €3,200 - €3,300

    Equipo Crónica (Valencia, 1964–1981). “Pelea” from the Serie Negra, 1975. Silkscreen print on Arches paper, EA 26/30. Signed and dated by hand. Published by Galería Juana Mordó, Madrid, and Galería Yves Riviere. Work cataloged in: “Equipo Crónica. Catalog of Graphic Works and Multiples 1965–1982,” published by the Bilbao Museum of Fine Arts, 1988, no. 52, p. 75. Measurements: 54 x 72.5 cm; 69 x 87 cm (frame). The silkscreen print up for auction fully embodies the language of the “Serie Negra”: characters inspired by film noir and detective novels appear in an atmosphere of suspense, rendered almost in black and white, while the only colored elements are drawing and painting materials. The Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo—who soon left the group—and Rafael Solbes, whose death in 1981 brought the project to an end. The historian and critic Tomás Llorens was also part of the group; he explains the Equipo’s theoretical foundations in a text titled “The Distancing of Distancing.” Likewise, the three painters signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and goals that transcended the individual. Equipo Crónica broke away from the prevailing Informalism to cultivate a figurative style of painting closely linked to Pop Art. Tired of introspection, these artists took to the streets and observed the world around them—a society marked by nascent industrialization and tourists. Their style was a unique blend of realism, criticism, Pop Art, pictorial references, anachronisms, and bittersweet pastiches. The group produced paintings, sculptures, and prints, and often worked in series, which allowed them to explore a single theme through different variations. Equipo Crónica draws on a very simple visual language, featuring monochromatic and repetitive images that closely resemble contemporary media, particularly newspaper photographs. Works by Equipo Crónica are held at the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation, and the Patio Herreriano Museum in Valladolid, among others. In 2007, an exhibition dedicated to Equipo Crónica was organized at the Museum of Abstract Art in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA 1964-1981 - The Painter and the Model
    Jun. 30, 2026

    EQUIPO CRÓNICA 1964-1981 - The Painter and the Model

    Est: -

    TEAM CHRONICLE 1964-1981 Rafael Solbes and Manolo Valdés The Painter and the Model. 1976 Screen print on cardboard Signed in pencil Numbered 20/75 Measurements 63.5 x 49 cm Edita Galería 42, Barcelona. 1976 BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Team Chronicle. Cataloging Graphic Works and Multiples 1965-1982", Ed. Museum of Fine Arts of Bilbao 1988, no. 65. Page 88

    Subastas Segre
  • EQUIPO CRÓNICA 1964-1981 - Equipo Crónica
    Jun. 30, 2026

    EQUIPO CRÓNICA 1964-1981 - Equipo Crónica

    Est: -

    CHRONICLE TEAM 1964-1981 Rafael Solbes and Manolo Valdés Chronicle Team. 1976 Serigraph on Basik paper Signed in pencil Numbered 10/75 Measurements 53.5 x 72 cm Edited by Galería Juana Mordó, Madrid 1976 BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Equipo Crónica. Cataloging Graphic work and multiples 1965-1982", Ed. Museum of Fine Arts of Bilbao 1988, no. 58. Page 81

    Subastas Segre
  • EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus
    Jun. 30, 2026

    EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus

    Est: -

    Equipo Crónica 1964-1981 Rafael Solbes and Manolo Valdés Untitled. The Circus. 1981 Oil on canvas Signed Dimensions 100 x 160 cm Provenance (label on back) Theo Gallery, Madrid Private collection Bibliography Michèle Dalmace, "Equipo Crónica. Catalogue Raisonné", IVAM, Valencia, p. 569, no. 2

    Subastas Segre
  • EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus
    Jun. 30, 2026

    EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus

    Est: -

    Equipo Crónica 1964-1981 Rafael Solbes and Manolo Valdés Untitled. The Circus. 1981 Oil on canvas Signed Dimensions 100 x 160 cm EXHIBITIONS 2008 (January 30-May 18), "The Circus in Spanish Art", Esteban Vicente Museum of Contemporary Art, Segovia BIBLIOGRAPHY Michèle Dalmace, "Equipo Crónica. Catalogue Raisonné", IVAM, Valencia, p. 565, no. 1 Raúl Eguizábal (curator), "The Circus in Spanish Art", Esteban Vicente Museum of Contemporary Art, p. 117

    Subastas Segre
  • EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus
    Jun. 30, 2026

    EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus

    Est: -

    Equipo Crónica 1964-1981 Rafael Solbes and Manolo Valdés Untitled. The Circus. 1981 Oil on canvas Signed Dimensions 101 x 161 cm Provenance (label on back) Theo Gallery, Madrid Private collection Bibliography Michèle Delmace, "Equipo Crónica. Catalogue Raisonné", IVAM, Valencia, p. 568, no. 5

    Subastas Segre
  • EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus
    Jun. 30, 2026

    EQUIPO CRÓNICA 1964-1981 - Untitled. The Circus

    Est: -

    TEAM CHRONICLE 1964-1981 Rafael Solbes and Manolo Valdés Untitled. The Circus. 1981 Gouache, watercolor and collage on paper Signed and dated 1981 Dimensions 50 x 86 cm EXHIBITIONS 2006 (February 7-March 26), "Equipo Crónica. Works on Paper 1965-1981", IVAM, Valencia 2008 (January 30-May 18), "The Circus in Spanish Art", Esteban Vicente Museum of Contemporary Art, Segovia BIBLIOGRAPHY Michèle Dalmace, "Equipo Crónica. Catalogue Raisonné", IVAM, Valencia 2001, p. 564, no. 8 Various Authors, "Equipo Crónica. Works on Paper 1965-1981", IVAM and Generalitat Valenciana, Valencia, 2006, p. 88 Raúl Eguizábal (curator), "The Circus in Spanish Art", Ed. Esteban Vicente Museum of Contemporary Art, Segovia 2008, p. 116

    Subastas Segre
  • Equipo Crónica. The Watchman
    Jun. 23, 2026

    Equipo Crónica. The Watchman

    Est: -

    Serigraph on paper. Signed and dated (68) in the lower right corner. Not numbered.

    Duran Arte y Subastas
  • Equipo Crónica. Catalogue Raisonné
    Jun. 23, 2026

    Equipo Crónica. Catalogue Raisonné

    Est: -

    "EQUIPO CRÓNICA.- CATALOGUE RATIONALE BY MICHÉLE DALMACE" Institut Valenciá d'Art Modern, 2002. Quarto, cloth binding with dust jacket. Slipcase. 716 pp. Profusely illustrated in color.

    Duran Arte y Subastas
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Double whistle". Series A place, a date, an image. Silkscreen on paper. Issue 61/75. It has several tears in the upper left corner, the left side and the...
    Jun. 17, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Double whistle". Series A place, a date, an image. Silkscreen on paper. Issue 61/75. It has several tears in the upper left corner, the left side and the...

    Est: €600 - €800

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Double whistle". Series A place, a date, an image. Silkscreen on paper. Issue 61/75. It has several tears in the upper left corner, the left side and the lower left area. Measurements: 102 x 73 cm. The work "Pito doble" by the Equipo Crónica collective is a particularly lucid example of the visual and intellectual strategy that defined the group's production during the 1960s and 1970s: a painting constructed from the appropriation, quotation and critical re-reading of the history of modern art. Founded in Valencia by Manolo Valdés and Rafael Solbes, Equipo Crónica developed a language deeply influenced by pop art, although endowed with a much more incisive political and historiographical dimension. In "Pito doble", that critical vocation is manifested through the incorporation of images and signatures of Juan Gris and Francis Picabia, essential figures of the historical avant-garde of the 20th century. The presence of both artists does not function as a simple erudite homage. Equipo Crónica turns their references into material for cultural analysis, establishing a dialogue between the heroic modernity of the avant-garde and the contemporary society of the image. Juan Gris appears associated with the structural rationality of cubism, with an analytical conception of painting based on the fragmentation and reconstruction of reality. Picabia, on the contrary, introduces the irreverent, ambiguous and provocative component inherited from Dadaism. The coexistence of both references generates a deliberate tension between order and disruption, between consolidated artistic language and constant questioning of its own codes. Formally, the work displays the characteristic features of the collective: flat colors, defined contours and a composition that refers to advertising graphics, comics and the mechanical reproduction of images. However, beneath this apparent visual clarity, a complex reflection on the circulation of images in contemporary culture is developed. Equipo Crónica understood art history not as an untouchable repertoire of masterpieces, but as an open archive that could be manipulated, reinterpreted and politicized. Has several tears in the upper corner

    Setdart Auction House
  • EQUIPO CRONICA Valencia (1964) / (1981) "Jacob's Dream", 1971
    Jun. 16, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "Jacob's Dream", 1971

    Est: €1,200 - €1,800

    Serigraph on paper Signed and justified in pencil 60/75 at the bottom Bibliography: Michèlle Dalmace-Rognon, "Equipo Cronica. Cataloging Graphic Work and Multiples 1965-1982", Ed. Bilbao Fine Arts Museum 1988, no. 36, p. 59 Dimensions: 100 x 70 cm

    Ansorena
  • EQUIPO CRONICA Valencia (1964) / (1981) "Ramon Casas and Eduardo Arroyo as a pretext"
    Jun. 16, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "Ramon Casas and Eduardo Arroyo as a pretext"

    Est: €1,200 - €1,800

    Serigraph on paper Signed and justified in pencil 30/75 at the bottom Published by George Fall-Revue Bibliography: Michèlle Dalmace-Rognon, "Equipo Cronica. Cataloging Graphic Work and Multiples 1965-1982", Ed. Bilbao Fine Arts Museum 1988, no. 46 Measurements: 90 x 56 cm

    Ansorena
  • EQUIPO CRONICA Valencia (1964) / (1981) "Homage to Picasso", c.1975
    Jun. 16, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "Homage to Picasso", c.1975

    Est: €900 - €1,350

    Lithograph on paper Signed and justified 35/50 in pencil at the bottom Published by Eva Poll, Berlin Dimensions: 86 x 61.5 cm

    Ansorena
  • EQUIPO CRONICA Valencia (1964) / (1981) "The Seated Reader", 1981
    Jun. 16, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "The Seated Reader", 1981

    Est: €700 - €1,050

    Serigraph on Basik paper Signed in pencil and justified 21/75 Edited by Equipo Cronica, Valencia 1981 Bibliography: Michèlle Dalmace-Rognon, "Equipo Cronica. Cataloging Graphic work and multiples 1965-1982", Ed. Museo de Bellas Artes de Bilbao 1988, no. 91. p. 114 Measurements: 50 x 35 cm

    Ansorena
  • Equipo Crónica (Active 1964 - 1981) "Billiards"
    May. 26, 2026

    Equipo Crónica (Active 1964 - 1981) "Billiards"

    Est: €900 - €1,200

    Equipo Crónica (Active 1964 - 1981) "Billiards" Lithograph Signed in pencil and numbered 73/75 52 x 70 cm 900 - 1.200 €

    Greco Subastas
  • Equipo Crónica (Active 1964 - 1981) "Room with Billiard Tables"
    May. 26, 2026

    Equipo Crónica (Active 1964 - 1981) "Room with Billiard Tables"

    Est: €900 - €1,200

    Equipo Crónica (Active 1964 - 1981) "Room with Billiard Tables" Lithograph Signed in pencil and numbered 97/100 32 x 46 cm 900 - 1.200 €

    Greco Subastas
  • ChronicleTeam. Poster Gallery Four (1988)
    May. 26, 2026

    ChronicleTeam. Poster Gallery Four (1988)

    Est: -

    Cartel de la exposición celebrada en el año 1988 en la Galería Cuatro, Valencia.

    Duran Arte y Subastas
  • Equipo Crónica. Taco de billar
    May. 26, 2026

    Equipo Crónica. Taco de billar

    Est: -

    Serografía sobre papel. Firmado en el ángulo inferior derecho. Numerada (24/100) en el ángulo inferior izquierdo.

    Duran Arte y Subastas
  • EQUIPO CRONICA (Valencia, 1964 - 1981). "El crimen de Cuenca", 1979. Book copy 111/120. Contains 12 original serigraphs signed and numbered. Printed in Valencia by Serigrafías Ibero-Suiza.
    May. 20, 2026

    EQUIPO CRONICA (Valencia, 1964 - 1981). "El crimen de Cuenca", 1979. Book copy 111/120. Contains 12 original serigraphs signed and numbered. Printed in Valencia by Serigrafías Ibero-Suiza.

    Est: €6,000 - €8,000

    EQUIPO CRONICA (Valencia, 1964 - 1981). "El crimen de Cuenca", 1979. Book copy 111/120. Contains 12 original serigraphs signed and numbered. Printed in Valencia by Serigrafías Ibero-Suiza. With original text by Julio Caro Baroja. Printed on Guarro paper in the Artes Gráficas Casaló workshops. Measurements: 32 x 23 cm. The title and theme refer to the infamous Crime of Cuenca that occurred in 1910. In this case, two innocent men were falsely accused, convicted and imprisoned for a murder they did not commit. Years later, it was discovered that the alleged victim was still alive. Equipo Crónica uses this event as a metaphor and a direct critique of institutional injustice and the arbitrariness of the judiciary during Franco's dictatorship. Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. His style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Crónica contra política", 1969. Oil, collage and ink on paper/cardboard. Signed in the lower right corner.
    May. 20, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Crónica contra política", 1969. Oil, collage and ink on paper/cardboard. Signed in the lower right corner.

    Est: €6,000 - €8,000

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Crónica contra política", 1969. Oil, collage and ink on paper/cardboard. Signed in the lower right corner. Measurements: 26 x 37 cm; 60 x 71 cm (frame). This work belongs to the first stage of the group, at the end of the 1960s, when its visual language clearly adopts strategies close to pop art to articulate a direct criticism of the socio-political context of Franco's regime. In this initial moment, their style is characterized by the use of collage, the appropriation of media images and the hybridization of historical and contemporary references, resources that are deployed here with special intensity. The composition combines disparate elements that generate a deliberate tension: historical references such as the tomb of St. James the Apostle coexist with images from the visual culture of the moment, press clippings, children's figures, building a fragmented space that refers to information saturation and ideological manipulation. In the center appears a naked figure with a tie and Galileo's face. The textual language reinforces this satirical dimension through slogans such as "MAKE LOVE, NOT WAR", which introduce the international pacifist imaginary in contrast with the Spanish reality of the moment, generating an ironic and dissonant effect. At the same time, the presence of floral motifs clearly refers to the serial and colorist aesthetics of Andy Warhol, whose influence is key in this early phase of the group. Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA 1964-1981 - Miss Vanguard
    May. 12, 2026

    EQUIPO CRÓNICA 1964-1981 - Miss Vanguard

    Est: -

    TEAM CHRONICLE 1964-1981 Rafael Solbes and Manolo Valdés La Señorita Vanguardia. 1981 Screenprint on Super Alfa paper by Guarro Signed in pencil Numbered 23/75 Measurements 74.6 x 55.2 cm Edited by Galería Maeght, Barcelona 1981 BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Team Chronicle. Cataloging Graphic work and multiples 1965-1982", Ed. Museum of Fine Arts of Bilbao 1988, no. 98. Page 121

    Subastas Segre
  • EQUIPO CRÓNICA 1964-1981 - Jacob's Dream (Compositions)
    May. 12, 2026

    EQUIPO CRÓNICA 1964-1981 - Jacob's Dream (Compositions)

    Est: -

    Equipo Crónica 1964-1981 Rafael Solbes and Manolo Valdés Jacob's Dream (Compositions). 1971 Serigraph on cardboard Signed in pencil Numbered 50/75 Dimensions 100 x 70 cm Published by Gustavo Gili, Barcelona 1971 BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Equipo Crónica. Cataloging Graphic Works and Multiples 1965-1982", Ed. Bilbao Fine Arts Museum 1988, no. 36. Page 59

    Subastas Segre
  • TEAM CHRONICLE 1964-1981 - Jester
    May. 12, 2026

    TEAM CHRONICLE 1964-1981 - Jester

    Est: -

    Equipo Crónica 1964-1981 Rafael Solbes and Manolo Valdés Jester. 1982 Paint on polyester Signed Fifteen original versions Dimensions 21 x 19 x 15 cm Provenance Guereta Gallery, Barcelona Private collection Bibliography Michèle Dalmace, “Equipo Crónica. Catalogue Raisonné”, IVAM and Telefónica, Madrid-Valencia, p. 558

    Subastas Segre
  • TEAM CHRONICLE 1964-1981 - Nearby Beach II
    May. 12, 2026

    TEAM CHRONICLE 1964-1981 - Nearby Beach II

    Est: -

    Equipo Crónica 1964-1981 Rafael Solbes and Manolo Valdés Nearby Beach II. 1978 Synthetic enamel on glass Signed and dated 1978 Dimensions 123 x 98 cm Provenance Yerba Gallery, Murcia Private collection Bibliography Michèle Dalmace, "Equipo Crónica. Catalogue Raisonné", IVAM and Telefónica, Valencia 2001, p. 444, no. 31

    Subastas Segre
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand.
    Apr. 16, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand.

    Est: €3,500 - €4,000

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand. Measurements: 112 x 77 cm. Representative work of the critical and pop language characteristic of Equipo Crónica, a fundamental group in the renovation of contemporary Spanish art. The composition, clearly inspired by Picasso, reinterprets the female figure through a cubist fragmentation and a flat and vibrant chromatism, establishing a direct dialogue with the historical avant-garde. In the center of the scene appears an "identity card" that simulates an ID card of Pablo Picasso, an ironic resource that introduces a reflection on the appropriation of cultural icons, the construction of identity and the mechanisms of bureaucratic control. With its collage aesthetics and its sharp conceptual charge, this silkscreen is a notable example of the group's graphic production. Equipo Crónica was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo (who soon left the group) and Rafael Solbes, whose death put an end to the project. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRONICA Valencia (1964) / (1981) "Table II", 1977
    Apr. 08, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "Table II", 1977

    Est: €15,000 - €20,000

    Mixed media Signed at the bottom Bibliography: - Michèle Dalmace "Equipo Cronica" catalogue raisonne, IVAM, Valencia 2001; p. 394, no. 47. Measurements: 79 x 79 x 52 cm

    Ansorena
  • EQUIPO CRONICA Valencia (1964) / (1981) "Thriller", 1972
    Apr. 08, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "Thriller", 1972

    Est: €6,000 - €8,000

    Serigraph on canvas with painted frame Signed lower right. Signed, dated and justified 19/20 on the reverse, on the frame with label from Galeria Guereta, Madrid. Measurements: With frame: 89 x 104 x 5 cm

    Ansorena
  • Equipo Crónica. Bodegón Nacional
    Mar. 25, 2026

    Equipo Crónica. Bodegón Nacional

    Est: -

    EQUIPO CRÓNICA.- "BODEGÓN NACIONAL" New Orbit Collection. B.: Ed. Gustavo Gili, 1972. Numbered copy in pencil, limited edition of 200, in the lower left corner, and signed in pencil on the right. The work is presented in a fold-out folder, with a flap in the shape of a foot on the back for display. Enclosed is a copy of: LLORENS, Tomás "EQUIPO CRÓNICA" New Orbit Collection. B.: Gustavo Gili, 1972. Octavo, cover with flaps. 109 pp. + 1 leaf. Profusely illustrated.

    Duran Arte y Subastas
  • Chronicle Team. Ho Chi Min
    Mar. 24, 2026

    Chronicle Team. Ho Chi Min

    Est: -

    Serigraph on paper. Signed and dated (67) in the lower right corner. Numbered (PA) in the lower left corner. Published by Equipo Crónica. Bibliography: - DALMACE-ROGNON, Michèlle: Equipo Crónica. Cataloging Graphic Work and Multiples 1965-1982. Bilbao Fine Arts Museum, 1988, No. 11. Page 40.

    Duran Arte y Subastas
  • Equipo Crónica. EP Collection
    Mar. 24, 2026

    Equipo Crónica. EP Collection

    Est: -

    Lot consisting of 6 EPs with covers designed by Equipo Crónica between 1968 and 1969. Complete collection by Raimon (Quan Te'n vas T'ho Devia, Canço de les mans - La nit, El País Basc - D'un temps, d'un pais, Cantarem la vida - Si emor, Cançó de la mare - Diguem No) and Ovidi Montllor (Història d'un amic - Gola seca - La fàbrica palilac - Cançó d'amor).

    Duran Arte y Subastas
  • TEAM CHRONICLE - AFF. AL (Billiards Series)
    Mar. 24, 2026

    TEAM CHRONICLE - AFF. AL (Billiards Series)

    Est: -

    EQUIPO CRÓNICA Rafael Solbes and Manolo Valdés, 1964-1981 AFF. AL (El Billar Series). 1978 Lithograph on Arches paper Signed in pencil Numbered 13/100 Dimensions 84.5 x 63 cm Published by Galería Maeght, Barcelona 1978 BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Equipo Crónica. Cataloging Graphic Works and Multiples 1965-1982", Ed. Museo de Bellas Artes de Bilbao 1988, no. 73. Page 96

    Subastas Segre
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "El bobo de Coria", 1970. Acrylic on canvas. Signed in the lower right corner. Work referenced in the catalog raisonné of M. Dalmace "Equipo Crónica
    Mar. 19, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "El bobo de Coria", 1970. Acrylic on canvas. Signed in the lower right corner. Work referenced in the catalog raisonné of M. Dalmace "Equipo Crónica

    Est: €55,000 - €60,000

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "El bobo de Coria", 1970. Acrylic on canvas. Signed in the lower right corner. Work referenced in the catalog raisonné of M. Dalmace "Equipo Crónica: cataloguing, graphic and multiple works (1965 - 1982)", Page 135, Ref. 13. Measurements: 120 x 120 cm, 123 x 123 cm (with frame). The work is part of the maturity stage of the group. Formally it presents a composition of strong graphic character, with flat colors, defined contours and an aesthetic close to serigraphy and the visual codes of mass culture. The scene reinterprets in a fragmented and contemporary way the famous portrait of a jester painted by Diego Velázquez in the 17th century (known as El bobo de Coria). The figure of the jester appears decontextualized and displaced towards a modern space, sharing the stage with the equestrian image of a monarch also taken from Velázquez's repertoire, generating an anachronistic dialogue between power, representation and marginality. As for its historical context, the piece takes place in the last years of Franco's regime, at a time of strong political tension and cultural questioning of the official account of Spain's history. During this final stage of the dictatorial regime, many artists resorted to indirect strategies to introduce criticism and reflection. Equipo Crónica used the pictorial heritage of the Golden Age, especially Velázquez, as a tool to analyze the structures of power, the construction of the political image and the instrumentalization of artistic tradition. Thus, El bobo de Coria is not only a contemporary revision of a baroque icon, but a critical operation: the buffoon, a marginal figure at court, becomes a metaphor for the individual in the face of the apparatus of power represented by the equestrian image. The work articulates past and present, high culture and popular language, tradition and modernity, becoming a key piece in the artistic and political narrative of Spanish art. Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical bases of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their themes critically analyzed the political situation in Spain, as well as the History of Art, for which they were inspired by classic works such as Picasso's "Guernica" or Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on a darker and more somber image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to make a "chronicle of reality", a sort of social realism but using current visual systems. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca. Work referenced in the catalog raisonné by M. Dalmace "Equipo Crónica: cataloguing, graphic and multiple works (1965 - 1982)", Page 135, Ref. 13.

    Setdart Auction House
  • Equipo Crónica, Bodegón Nacional
    Feb. 25, 2026

    Equipo Crónica, Bodegón Nacional

    Est: -

    EQUIPO CRÓNICA.- "BODEGÓN NACIONAL" New Orbit Collection. B.: Ed. Gustavo Gili, 1972. Numbered copy in pencil, limited edition of 200, in the lower left corner, and signed in pencil on the right. The work is presented in a fold-out folder, with a flap in the shape of a foot on the back for display. Enclosed is a copy of: LLORENS, Tomás "EQUIPO CRÓNICA" New Orbit Collection. B.: Gustavo Gili, 1972. Octavo, cover with flaps. 109 pp. + 1 leaf. Profusely illustrated.

    Duran Arte y Subastas
  • EQUIPO CRÓNICA Valencia (1964) / (1981) "Solana in Paris (Series a place a date, an image)", 1976
    Feb. 25, 2026

    EQUIPO CRÓNICA Valencia (1964) / (1981) "Solana in Paris (Series a place a date, an image)", 1976

    Est: €1,350 - €1,800

    Serigraph on paper. Signed and justified in pencil at the bottom 5/75. Published by Galería Val i 30, Valencia and printed by Ibero-Suiza, Valencia On the reverse, labels from Galería Juana Mordó, Madrid and stamp from Galería Helga de Alvear, Madrid Bibliography: Michèle Dalmace-Rognon, "Equipo crónica: Cataloging graphic work and multiples 1965-1982", Bilbao Fine Arts Museum, 1988, no. 60 Measurements: Paper: 102 x 73 cm

    Ansorena
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand.
    Feb. 17, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand.

    Est: €3,500 - €4,000

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Identity card".1981 Silkscreen, copy H.C. /12 Signed and justified by hand. Measurements: 112 x 77 cm. Representative work of the critical and pop language characteristic of Equipo Crónica, a fundamental group in the renovation of contemporary Spanish art. The composition, clearly inspired by Picasso, reinterprets the female figure through a cubist fragmentation and a flat and vibrant chromatism, establishing a direct dialogue with the historical avant-garde. In the center of the scene appears an "identity card" that simulates an ID card of Pablo Picasso, an ironic resource that introduces a reflection on the appropriation of cultural icons, the construction of identity and the mechanisms of bureaucratic control. With its collage aesthetics and its sharp conceptual charge, this silkscreen is a notable example of the group's graphic production. Equipo Crónica was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo (who soon left the group) and Rafael Solbes, whose death put an end to the project. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRONICA Valencia (1964) / (1981) "Homage to Picasso", c. 1975
    Jan. 21, 2026

    EQUIPO CRONICA Valencia (1964) / (1981) "Homage to Picasso", c. 1975

    Est: €1,125 - €1,500

    Lithograph on paper. Signed and numbered 30/50 in pencil at the bottom. Published by Eva Poll, Berlin. Stamped on the back by Galeria Pelaires, Cuenca. Dimensions: 86 x 65.5 cm

    Ansorena
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Hélices". Silkscreen, P/A copy. Signed and justified in pencil.
    Jan. 12, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Hélices". Silkscreen, P/A copy. Signed and justified in pencil.

    Est: €1,000 - €1,100

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Hélices". Silkscreen, P/A copy. Signed and justified in pencil. Measurements: 35 x 38 cm. The Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their themes critically analyzed the political situation in Spain, as well as the History of Art, for which they were inspired by classic works such as Picasso's "Guernica" or Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on a darker and more somber image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to make a "chronicle of reality", a sort of social realism but using current visual systems. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire. Demystifying and decontextualizing the works of classic Spanish masters such as Velázquez, Goya or El Greco, they made their figures appear (the gentleman with his hand on his chest, the Duchess of Alba, etc.) as images in newspapers or advertisements, inaugurating buildings or among washing machines and express pots. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Hélices". Silkscreen, P/A copy. Signed and justified in pencil.
    Jan. 12, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Hélices". Silkscreen, P/A copy. Signed and justified in pencil.

    Est: €1,200 - €1,500

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Hélices". Silkscreen, P/A copy. Signed and justified in pencil. Measurements: 35 x 38 cm. The Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their themes critically analyzed the political situation in Spain, as well as the History of Art, for which they were inspired by classic works such as Picasso's "Guernica" or Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on a darker and more somber image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to make a "chronicle of reality", a sort of social realism but using current visual systems. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire. Demystifying and decontextualizing the works of classic Spanish masters such as Velázquez, Goya or El Greco, they made their figures appear (the gentleman with his hand on his chest, the Duchess of Alba, etc.) as images in newspapers or advertisements, inaugurating buildings or among washing machines and express pots. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Interior of the Meninas". Lithograph, copy 87/100. Signed and justified by hand.
    Jan. 12, 2026

    EQUIPO CRÓNICA (Valencia, 1964 - 1981). "Interior of the Meninas". Lithograph, copy 87/100. Signed and justified by hand.

    Est: €2,000 - €2,200

    Equipo Crónica (Valencia, 1964 - 1981). "Interior of the Meninas". Lithograph, copy 87/100. Signed and justified by hand. Measurements: 75 x 54 cm; 78,5 x 55,5 cm (frame). Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group. He explains the theoretical basis of the Equipo in a text entitled "La distanciación de la Distanciación" (The Distancing of Distanciation). Likewise, the three painters signed a manifesto in 1965, where they defined themselves as a working group with collective methods and supra-individual goals. Equipo Crónica moved away from the prevailing informalism to cultivate a figurative painting, closely linked to pop-art. Fed up with introspection, these artists went out into the street and observed the world around them, a society of incipient industrialization and tourists. Their style involved a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. The group produced paintings, sculptures and engravings, and used to work in series, which allowed them to analyze the same subject with different variations. Equipo Crónica starts from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. There are works by Equipo Crónica in the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • Equipo Crónica (Valencia, 1964 - 1981). "Abanico de lunares" 1981. Eight-color silkscreen on Guarro paper, copy 52/75. Signed and justified in pencil. Belonging to the series "Meninas de la Transición".
    Jan. 12, 2026

    Equipo Crónica (Valencia, 1964 - 1981). "Abanico de lunares" 1981. Eight-color silkscreen on Guarro paper, copy 52/75. Signed and justified in pencil. Belonging to the series "Meninas de la Transición".

    Est: €2,000 - €2,500

    Equipo Crónica (Valencia, 1964 - 1981). "Abanico de lunares" 1981. Eight-color silkscreen on Guarro paper, copy 52/75. Signed and justified in pencil. Belonging to the series "Meninas de la Transición". Measurements: 110 x 75 cm; 131 x 94 cm (frame). "Abanico de lunares" is an emblematic work of Equipo Crónica, integrated in the series "Meninas de la Transición", one of the most lucid and critical projects of the collective in the last years of its trajectory. The image is based on the Velázquez iconography of Las Meninas, reinterpreted through a pop, geometric and serial language, characteristic of Equipo Crónica. The female figure appears decomposed in emphatic chromatic planes, constructed as a collage of almost mechanical forms. The polka-dot fan, the central motif, introduces a direct reference to Spanish popular culture, folklore and graphic design, functioning both as a decorative element and as an ironic symbol of identity. The use of the polka dot, serial repetition par excellence, connects with pop art aesthetics and underlines the group's reflection on the image as a cultural product, reproducible and manipulable. The figure thus becomes a contemporary icon, halfway between the Spanish pictorial tradition and the modern visuality of the mass media. The neutral background and the forcefulness of the black reinforce the graphic and almost advertising reading of the scene. Within Equipo Crónica's production, this silkscreen represents a mature phase, in which the political discourse becomes more subtle but no less incisive. In the midst of the Spanish Transition, the series revisits the great myths of national art to question the processes of change, the construction of historical memory and the persistence of certain cultural symbols. The silkscreen technique, with its flat colors and industrial precision, is particularly appropriate for this critical approach. Equipo Crónica (Manolo Valdés and Rafael Solbes) are represented at the IVAM in Valencia, the Reina Sofía Museum in Madrid, the MACBA in Barcelona, the Juan March Foundation and the Patio Herreriano Museum in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organized at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • EQUIPO CRÓNICA (Valencia, 1964 – 1981). Original negatives. 1972 Signed by the members of Equipo Crónica. Sizes: 20.5 x 27 cm (larger celluloid); 29.5 x 59 cm (frame); 29.5 x 111 cm.
    Jan. 12, 2026

    EQUIPO CRÓNICA (Valencia, 1964 – 1981). Original negatives. 1972 Signed by the members of Equipo Crónica. Sizes: 20.5 x 27 cm (larger celluloid); 29.5 x 59 cm (frame); 29.5 x 111 cm.

    Est: €7,000 - €8,000

    CRONICA TEAM (Valencia, 1964 - 1981). Original negatives. 1972 Signed by the members of Equipo Crónica. Sizes: 20.5 x 27 cm (larger celluloid); 29.5 x 59 cm (frame); 29.5 x 111 cm. Equipo Crónica was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. The group produced paintings, sculptures and prints, and tended to work in series, which allowed the same subject to be analysed in different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. There are works by Equipo Crónica in the IVAM in Valencia, the Museo Reina Sofía in Madrid, the MACBA in Barcelona, the Fundación Juan March and the Museo Patio Herreriano in Valladolid, among others. In 2007 an exhibition dedicated to Equipo Crónica was organised at the Museo de Arte Abstracto in Cuenca.

    Setdart Auction House
  • Equipo Crónica. Bodegón Nacional
    Dec. 17, 2025

    Equipo Crónica. Bodegón Nacional

    Est: -

    EQUIPO CRÓNICA.- "BODEGÓN NACIONAL" New Orbit Collection. B.: Ed. Gustavo Gili, 1972. Numbered copy in pencil, limited edition of 200, in the lower left corner, and signed in pencil on the right. The work is presented in a fold-out folder, with a flap in the shape of a foot on the back for display. Enclosed is a copy of: LLORENS, Tomás "EQUIPO CRÓNICA" New Orbit Collection. B.: Gustavo Gili, 1972. Octavo, cover with flaps. 109 pp. + 1 leaf. Profusely illustrated.

    Duran Arte y Subastas
  • EQUIPO CRÓNICA Rafael Solbes and Manolo Valdés, 1964-1981 Ma Jolie. 1981 Serigra
    Dec. 16, 2025

    EQUIPO CRÓNICA Rafael Solbes and Manolo Valdés, 1964-1981 Ma Jolie. 1981 Serigra

    Est: -

    EQUIPO CRÓNICA Rafael Solbes and Manolo Valdés, 1964-1981 Ma Jolie. 1981 Serigraph on Guarro Super Alfa paper Signed in pencil PA (artist's proof); from an edition of 75 Dimensions 78 x 54.5 cm Published by Galería Maeght, Barcelona 1981 BIBLIOGRAPHY Michèlle Dalmace-Rognon, "Equipo Crónica. Cataloging Graphic Works and Multiples 1965-1982", Ed. Bilbao Fine Arts Museum 1988, no. 94. Page 117

    Subastas Segre
  • Equipo Crónica Rafael Solbes and Manolo Valdés, 1964-1981 Man from the Window. 1979
    Dec. 16, 2025

    Equipo Crónica Rafael Solbes and Manolo Valdés, 1964-1981 Man from the Window. 1979

    Est: -

    Equipo Crónica Rafael Solbes and Manolo Valdés, 1964-1981 Man from the Window. 1979 Oil on cardboard Signed and dated 1979 Dimensions 77 x 107 cm Provenance Maeght Gallery, Barcelona Poll Gallery, Berlin Private collection Exhibitions 1979, "Equipo Crónica", Maeght Gallery, Zurich 1980, "Equipo Crónica". Stadlanschaften", Poll Gallery, Berlin 1980, "Equipo Crónica", Maeght Gallery, Paris (reproduced on the invitation cover) Bibliography Michèle Dalmace, "Equipo Crónica. Reasoned Catalog", Ed. IVAM, Valencia, page 453, nº56, ref. page 626

    Subastas Segre
  • ChronicleTeam. Poster Gallery Four (1988)
    Dec. 16, 2025

    ChronicleTeam. Poster Gallery Four (1988)

    Est: -

    Poster for the exhibition held in 1988 at the Cuatro Gallery, Valencia.

    Duran Arte y Subastas
Lots Per Page:

Popular Artists

Auction Houses Selling Works by Equipo Cronica

Devices

Get Invaluable on Your Phone

Download the app via text link to get instantly notified if you’re outbid and receive auction reminders so you never miss out!

Bid On-the-Go!

Download the Invaluable app and never miss an auction from your iOS or Android device.

App Store badgeGoogle Play badge
Invaluable Logo

As the world's leading online auction marketplace, thousands of auction houses use Invaluable to deepen relationships with millions of clients around the world. Stay connected to the things you love with curated items and auctions sent to your inbox.

You can unsubscribe at any time. View ourPrivacy Policy.

© 1986-2026 Invaluable, LLC. and participating auction houses. All Rights Reserved.

TermsSubscription AgreementPrivacy PolicyCopyrightGDPR InfoPrivacy ChoiceYour Privacy ChoicesSite Map