MANOLO VALDÉS (Valencia, 1942). "Player", 1987. Print run of 75 copies. Work created by Valdés for the Spina Bifida congress in 1988. Etching and collage on GVARRO paper. Signed in the lower right corner. Measurements: 37 x 24 cm (print) ; 76 x 56.50 cm (paper). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería de Sevilla.
MANOLO VALDÉS (Valencia, 1942). "Russian Constructivists", 1984. Series "Reina Mariana as a pretext". Etching on GVARRO paper. 57/75 copy. Signed and numbered in pencil. Measurements: 42 x 30 cm (print); 76 x 56,50 cm (paper). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
MANOLO VALDÉS (Valencia, 1942)."Picasso", 1984. Series "Reina Mariana as a pretext".Etching on GVARRO paper. 58/75 copy.Signed and numbered in pencil.Measurements: 42 x 30 cm (print); 76 x 56,50 cm (paper).Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting.In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it.After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities.Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art.In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo.Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela.In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
"MANOLO VALDÉS: LADIES AND GENTLEMEN".- Artika: 2023. Monumental edition that includes a volume that reproduces 53 engravings by Manolo Valdés, selected by the artist expressly for this work; volume of studies, both contained in a box ed. fabric that reproduces a detail from the engraving Reina Mariana VIII (2001, Ed. 50). A menina, created by Manolo Valdés in colored resin, which serves as a support for the work. HC numbered copy of limited edition, autographed by the artist in the colophon. Perfect state of conservation, with its original publisher's cases.
MANOLO VALDES Valencia 1942 The Café. 1983 Serigraphy on Creysse paper Signed in pencil Numbered 19/75 Measures 77.5 x 57 cm Edited by the Artist's Workshop, Valencia 1983 BIBLIOGRAPHY Victoria Hidalgo Nieto, "Manolo Valdés. Graphic Work 1981-2002". Tf editores, Madrid City Council 2002, nº 5. Pág. 79
MANOLO VALDES Valencia 1942 Still Life Morandi IV. 1985 Granite in several pieces Signed Unique piece Measurements 36 x 109 x 74 cm PROVENANCE Galería Val i 30, Valencia Galería Guereta, Madrid Christie's, London Private collection EXHIBITIONS 1991 (November-December), "Manolo Valdés 1982-1991, Painting-Sculpture-Graphic Work", Galería Guereta, Madrid BIBLIOGRAPHY Caroline Kesser, "Manolo Valdés 1982-1991, Painting-Sculpture-Graphic Work", Galería Guereta, Madrid 1991. Page 33
Etching and aquatint with collage on aquari paper. Signed in the lower right corner. Numbered (47/100). Attached is a certificate of authenticity issued by the artist.
Manolo VALDÉS ((Né en 1942)) Infanta Margarita - 2004 Bronze à patine brune Pièce unique Provenance : Galerie Marlborough, Zurich Acquis auprès de cette dernière par l'actuel propriétaire Expositions : Reggio Emilia, Palazzo Magnani, "Manolo Valdès, Il perenne retaggio dell'arte", avril-mai 2005, reproduit en couleur p. 105 (un exemplaire similaire) Exposition itinérante: Sienne, Palazzo Pubblico, Magazzini del Sale, juillet-août 2005; Gérone, Centre Cultureal fontana d'Or del Fundació Caixa, septembre-octobre 2005 Bronze with brown patina; unique piece Lot en importation temporaire. L'acquéreur devra acquitter des frais d'importation, soit 5,5% en sus du prix d'adjudication sauf s'il réexporte immédiatement le lot hors de l'Union Européenne. This work is in temporary import. The buyer will have to pay import fees of 5.5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European Union. 123 x 102 x 72 cm Manolo VALDÉS ((Né en 1942)) Bronze with brown patina; unique piece Lot en importation temporaire. L'acquéreur devra acquitter des frais d'importation, soit 5,5% en sus du prix d'adjudication sauf s'il réexporte immédiatement le lot hors de l'Union Européenne. This work is in temporary import. The buyer will have to pay import fees of 5.5% in addition to the hammer price, unless the buyer immediately re-exports the lot outside the European Union. 123 x 102 x 72 cm
Manolo VALDÉS ((Né en 1942)) Reina Mariana Blue - 2022 Résine cristalline Signée des initiales et numérotée au dos "M.V., 1/8" Provenance : Atelier de l'artiste Opera Gallery, Madrid Collection particulière, France L'authenticité de cette oeuvre a été confirmée par l'artiste. Crystalline resin; signed with the initials and numbered on the back 305 x 220 x 165 cm Manolo VALDÉS ((Né en 1942)) L'authenticité de cette oeuvre a été confirmée par l'artiste. Crystalline resin; signed with the initials and numbered on the back 305 x 220 x 165 cm
MANOLO VALDÉS (Valencia, 1942). "Matisse as a pretext", 2001. Silkscreen on canvas. Exemplary H.C II/III. The authenticity of this lot has been verified by the studio of Manolo Valdés. Signed and dated in the lower central area. Justified in the lower right corner. Measurements: 148 x 122 cm. This work is a clear example of Valdés' response to the master Matisse, rescuing his odalisques and wrapping them in a pop aesthetic. As usual in his production, Valdés resorts to the work of a great master as a starting point to create a new image that, in its complete originality and contemporaneity, urges us to rethink the legacy of art history itself. In an interview the artist gave to the ABC newspaper in 2016, Valdés pointed out his artistic connection with Matisse, and his interest in the interpretation of his work. In addition, this same year he exhibited at the Marlborough Fine Art gallery in London, the show titled "Recent Work. Paintings and sculptures", was a selection of eleven works that paid tribute to the artistic work of Henri Matisse. In fact, when the Valencian painter was interviewed in reference to this exhibition, Valdés replied "I answer to his paintings with other paintings". Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan, the silver medal of the II International Biennial of Engravings of Tokyo, the award of the Bridgestone Art Museum in Lisbon, the National Prize of Plastic Arts, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andres Bello in Venezuela, the award of the National Council of Monaco, the Gold Medal of Merit in Fine Arts, the Award of the Spanish Association of Art Critics and the Best Printmaking Artist Award, among others. Formally, Valdés creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images of the history of art. He is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others. The authenticity of this lot has been verified by the Manolo Valdés studio.
MANOLO VALDÉS (Valencia, 1942). "Eva III", 1993. Etching and collage on paper. Copy 4/51. Signed and justified in pencil at the bottom. Measurements: 165 x 65,5 cm., 183 x 84 cm. (frame). In this engraving intervened by the artist, the figure of Eva is shown, inspired by the painting of the same title, made in 1507 by Durero, which belongs to the Collection of the Prado Museum. Valdés rescues this figure from the Old Testament, bringing her body to contemporaneity, reducing it to an aesthetic language of synthetic and schematic forms, which preserve the devotional and iconographic expression of the religious figure, who maintains her nimbus of sanctity and her modest posture. Valdés dispenses with the iconic apple and instead introduces the image of a flower, which he places over the sex of the protagonist. This reference also alludes to the work of Dürer, who made numerous drawings inspired by flora and fauna, but the image of the flower also adds a conceptual and metaphorical reading to the piece, which in a veiled way conveys the idea of birth. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan (1965), the silver medal of the II International Biennial of Engravings of Tokyo (1979), the prize of the Bridgestone Art Museum in Lisbon (1979), the National Prize of Plastic Arts (1983), the medal of the International Festival of Plastic Artists of Baghdad (1986), the Decoration of the Order of Andres Bello in Venezuela (1993), the award of the National Council of Monaco (1997), the Gold Medal of Merit in Fine Arts (1998), the Award of the Spanish Association of Art Critics (2000) and the Best Print Artist Award (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritizing above any other content the pure act of painting. From the thematic point of view, Valdés is inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera or Zurbarán, and he never hides his models, but rather emphasizes them, even in the titles of his works. Formally, he creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
MANOLO VALDÉS, (Valencia, 1942). "Lady of Elche". Glazed ceramic with wooden base. Measurements: 22,50 x 18,50 x 21 cm, 26,50 x 18,50 x 21 cm (with base). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
MANOLO VALDÉS BLASCO (Valencia, 1942). "Iberian Lady", 2003. Ceramic on polyester and fiber base. Exemplary I/II. Attached certificate of authenticity issued by the author. Measurements: 165 x 130 x 150 cm. The original model of the "Iberian Lady" of Valdes is a sculpture composed of 22,000 blue ceramic heads, 20 cm, mounted on a metal structure. The sculpture, placed in the center of a fountain, is 18 m high on a concrete pedestal, and the side pieces are 16 m in diameter. It is located in Valencia, at the intersection of Avenida de Las Cortes Valencianas and Calle La Safor. It was inaugurated in February 2007, and its execution was made possible thanks to the patronage agreement signed by the Valencia City Council, Manolo Valdés and the promoters Lladró and Vallehermoso. In the words of Rafael Rivera, "La Dama Ibérica by Manolo Valdés is a sculpture of sculptures, a piece composed of other blue ceramic pieces, of smaller size but of similar formalization, placed in a hidden order to compose the larger piece. They are all anonymous, identical, but essential. The light, the reflection, the color, the transparency, the emptiness, are the other elements, incorporeal, that compose many sculptures within the sculpture, different images that speak to us of the day and the night, of the sun and the moon, of the dawn and the sunset. No look is the same as any other, no perception can be repeated, and whenever we raise our heads to contemplate it we will have the impression of seeing it for the first time". Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan (1965), the silver medal of the II International Biennial of Engravings of Tokyo (1979), the prize of the Bridgestone Art Museum in Lisbon (1979), the National Prize of Plastic Arts (1983), the medal of the International Festival of Plastic Artists of Baghdad (1986), the Decoration of the Order of Andres Bello in Venezuela (1993), the award of the National Council of Monaco (1997), the Gold Medal of Merit in Fine Arts (1998), the Award of the Spanish Association of Art Critics (2000) and the Best Print Artist Award (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritizing above any other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera or Zurbarán, and he never hides his models, but rather emphasizes them, even in the titles of his works. Formally, he creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images of the history of art. Valdés is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
MANOLO VALDES Valencia 1942 Profile VII. 2009 Etching, Aquatint and Collage on handmade paper Signed in pencil Numbered 24/50 Measurements 170 x 130 cm Printing Artist's Workshop, 2009 Edita Galería Hispánica , Madrid 2009 ORIGIN Galería Hispánica, Madrid Private collection
MANOLO VALDÉS (Valencia 1942–lives and works in New York City) Dorothy IX. 2003. Oil, paper, tar and jute collaged with yarn and staples, on jute. Signed, dated and with location on the reverse: VALDÉS NY 2003. 210 × 230 cm. Provenance: - Marlborough Galerie, Zurich. - Swiss collection, acquired from the above gallery in 2003. Our thanks to Manolo Valdés Studio for their kind support, 24.4.24. “I must create something for which the materials are dominant, the subject is an excuse.“ Manolo Valdés The artist Manolo Valdés, born in Valencia in 1942, is today one of Spain's most renowned contemporary artists. He began his training as a painter at the young age of 15 in his home city at the Real Academia de Bellas Artes de San Carlos. At the age of 23, together with fellow Valencian artists Rafael Solbes and Juan Antonio Toledo, he founded the artist group Equipo Crónica, a distinctly Spanish manifestation of Pop Art that used irony and humour to criticise the country's then dictator, Francisco Franco. After the death of Solbes, the artist group disbanded in 1981. By this time, Valdés had already presented his politically charged work in over 60 solo exhibitions and numerous group exhibitions. In his solo career, he developed an unmistakable style focussing on the appropriation and reinterpretation of classic masterpieces – the very essence of his work. As if in homage to art history, Manolo Valdés sometimes makes reference to Greek historiography, sometimes to Jan van Eyck, sometimes to Diego Velázquez, Henri Matisse or Pablo Picasso, or even the American Pop Art artists such as Roy Lichtenstein and Andy Warhol. He therefore draws on an extensive artistic repertoire and produces ingenious and at the same time historically founded works that recall the past through his artistic reconstructions. Manolo Valdés' visual imagery is characterised above all by large-format murals. In a perfect balance between light, colour, texture and scale, the sensation of sculptural canvases becomes the focus of his work. A marvellous example of this is ‘Dorothy IX’ from 2003. According to Manolo Valdés' studio, the ‘Dorothy’ depicted here is purely fictional. The focus is on the visual material. The contours of Dorothy’s facial features as portrayed are characterised by reduced black lines. The dominant almond-shaped eyes, the striking eyebrows and the round mouth are centring face’s silhouette. Emphasised by the symmetrical division of the uniform areas of colour in yellow, blue, light green and dark green, the face appears almost static and so emphasises the calm, imperturbable aura of the subject. The centre of the picture is crowned by a vibrant headdress: thanks to the voluminous jute collage and the powerful, broad brushstrokes, her hair seems to dance around her peaceful face like an ornament. A tension arises in the juxtaposition of these two pictorial levels, yet they function as a harmonious whole, enriching each other in their differences. The materiality of this work lends a sensuous and sculptural quality that expresses an unparalleled modernity and timelessness. * The full tax is charged on this item marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration. ------------------------------------------------- MANOLO VALDÉS (Valencia 1942–lebt und arbeitet in New York City) Dorothy IX. 2003. Öl, Papier, Teer und Jute mit Garn und Heftklammern collagiert, auf Jute. Verso signiert, datiert und mit Ortsangabe: VALDÉS NY 2003. 210 × 230 cm. Provenienz: - Marlborough Galerie, Zürich. - Schweizer Sammlung, bei obiger Galerie 2003 erworben. Wir danken dem Manolo Valdés Studio für die freundliche Unterstützung, 24.4.24. “I must create something for which the materials are dominant, the subject is an excuse.“ Manolo Valdés Der Künstler Manolo Valdés, 1942 in Valencia geboren, zählt heute zu den renommiertesten zeitgenössischen Künstlern Spaniens. Bereits im Alter von 15 Jahren beginnt er seine Ausbildung als Maler in seiner Heimatstadt an der Real Academia de Bellas Artes de San Carlos. Im Alter von 23 Jahren gründet er zusammen mit den valencianischen Künstlern Rafael Solbes und Juan Antonio Toledo die Künstlergruppe Equipo Crónica, eine spanische Manifestation der Pop Art, die Ironie und Humor nutzt, um den damaligen Diktator des Landes, Francisco Franco, zu kritisieren. Nach dem Tod von Solbes löst sich die Künstlergruppe 1981 auf. Zu dieser Zeit hat Valdés bereits sein politisch aufgeladenes Werk in über 60 Einzel- und zahlreichen Gruppenausstellungen präsentiert. In seiner Solokarriere entwickelt er einen unverwechselbaren Stil, der sich auf die Aneignung und Neuinterpretation klassischer Meisterwerke konzentriert – die Quintessenz seiner Arbeit. Wie in einer Hommage an die Kunstgeschichte greift Manolo Valdés mal auf die griechische Geschichtsschreibung, mal auf Jan van Eyck, auf Diego Velázquez, Henri Matisse, Pablo Picasso, oder auch auf die amerikanischen Pop-Art-Künstler wie Roy Lichtenstein und Andy Warhol zurück. So schöpft er aus einem umfangreichen künstlerischen Repertoire und produziert geistreiche, aber gleichzeitig historisch fundierte Werke, die die Vergangenheit durch seine künstlerische Neugestaltung in Erinnerung rufen. Die visuelle Bildsprache von Manolo Valdés zeichnet sich vor allem durch grossformatige Wandarbeiten aus. In einem perfekten Gleichgewicht zwischen Licht, Farbe, Textur und Massstab wird die Empfindung von skulpturalen Leinwänden zum Schwerpunkt seines Werks. Ein wunderbares Beispiel dafür ist "Dorothy IX" aus dem Jahr 2003. Wie uns das Studio von Manolo Valdés erklärt, ist die dargestellte Dorothy rein fiktiv. Der Fokus liegt auf der visuellen Materie. Die Konturen der Gesichtszüge der porträtierten Dorothy werden durch reduzierte schwarze Striche gekennzeichnet. Die dominierenden mandelförmigen Augen, die markanten Augenbrauen und die runde Mundpartie stehen im Mittelpunkt der Gesichtssilhouette. Betont durch die symmetrische Aufteilung der gleichmässigen Farbflächen in Gelb, Blau, Hellgrün und Dunkelgrün wirkt das Gesicht fast statisch und betont dadurch die ruhige, unerschütterliche Ausstrahlung der Porträtierten. Das Bildzentrum wird von einer dynamischen Kopfbedeckung gekrönt: Ihre Haare scheinen dank der voluminösen Jute-Collage und der kraftvollen, breiten Pinselstriche wie ein Ornament um ihr friedliches Gesicht zu tanzen. Eine Spannung entsteht in der Gegenüberstellung dieser beiden Bildebenen, dennoch funktionieren sie als harmonisches Ganzes, indem sie sich in ihren Unterschieden gegenseitig bereichern. Die Materialität verleiht dieser Arbeit eine sinnliche und skulpturale Note, wodurch eine beispiellose Modernität und Zeitlosigkeit zum Ausdruck kommen. Dieses mit * (Asterisk) bezeichnete Objekte ist vollumfänglich mehrwertsteuerpflichtig, d. h. bei diesen Objekten wird die MWST auf den Zuschlagspreis plus Aufgeld berechnet. Käufer, die eine rechtsgültig abgestempelte Ausfuhrdeklaration vorlegen, erhalten die MWST rückvergütet.
MANOLO VALDÉS (Valencia, 1942). "Reina Mariana in Art Decó", 1982. Iron and wood. Provenance: Maeght Gallery. Work reproduced in "Manolo Valdés In Cardiff". Measurements: 172,8 x 112 x 27,5 cm. The game of combinations and stylistic permutations and references to the history of art was an inexhaustible source for Manolo Valdés. Here, in this iron and wood sculpture, we are faced with a classic example of this playful spirit: we recognise Queen Mariana of Austria dressed in her court dress with a pompous skirt, just as Velázquez represented her in his day, albeit in an Art Deco version. Thus, the angular, idealised, balanced and proportioned, yet synthetic and essential forms pay homage to Velázquez and make this sculpture a true statement of intent by the Valencian painter, vindicating the role of the great traditional and modern painters in the evolution of the history of art. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal at the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
MANOLO VALDÉS (Valencia, 1942). "Picasso", 1984. Series "Reina Mariana as a pretext". Etching on GVARRO paper. 58/75 copy. Signed and numbered in pencil. Measurements: 42 x 30 cm (print); 76 x 56,50 cm (paper). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
Manolo Valdes (Spanish, b. 1942), "Velazquez Como Pretexto", Lithograph in Colors, 1980, for the United Nations, with UN postage stamp and stamped by UN crime prevention Postal Administration, numbered edition "261/500" lower left and signed lower right, rounded-edge wood frame. Image: 11" H x 8.5" W; frame: 13" H x 10" W. Provenance: From a New York City Collection. Keywords: Peace, Print, Multiples, European Art, Contemporary Art
Conde Duque de Olivares (1987) Relief print, edition 33/35 signed lower right and numbered lower left left H:96 x W: 62.5 cm MANOLO VALDÉS (NÉ EN 1949) Conde Duque de Olivares (1987) Estampe en relief, édition 33/35 signée en bas à droite et numérotée en bas à gauche H:96 x L: 62,5 cm Provenance : Collection aristocratique européenne
Manolo VALDES Mujer Con Abanico I - 2007 Eau-forte et aquatinte en couleurs Signée et justifiée « HC II/XV » (50 épreuves numérotées) 169 × 99 cm - encadrée Etching and aquatint in colors; signed and justified 66.53 × 38.97 in. - framed Provenance : Galerie Maeght, Paris Acquis auprès de cette dernière par l'actuel propriétaire Manolo VALDES
(born in Valencia in 1942) Ariosto, 2014, signed, titled and dated on the reverse, oil, burlap and fabric collage on burlap, 170 x 170 cm, framed Provenance: European Private Collection (acquired directly from the artist in 2015) Exhibited: Reggio Emilia, L’Orlando Furioso. Incantamenti, passioni e follie: l’Arte Contemporanea legge l’Ariosto, Palazzo Magnani, 4 October 2014 - 11 January 2015, exh. cat. p. 267 with ill. “I am just a narrator who comments on the history of painting in various ways, using new materials: it is like a game that consists of changing the code and the key to the artwork… Many of my colours, materials and textures are the product of relived experiences of other masters. My painting involved much reflection.” Manolo Valdés, quoted in C. de Albornoz, ‘Manolo Valdés’, in Abc, 26 June 2005 The paintings that Valdés has created on burlap - using stitching onto different cloths, thick chromatic impasto, and high-quality pigments - resemble entangled roots similar to vines that, from a distance, take the form of a single image. This image may be difficult to grasp in its entirety, owing to its very thicket of cloths, tears, and dense colour and texture. When the eye tries to take it in, the image dissolves among the tears of the fabric, disappearing and denying its own coherence. One gets the feeling of having come across a dense colourful substance which is constantly undergoing change, navigating between moments of clarity and of dissolution. What is ever present owes little to a clear narrative, but rather more to a confusion of assembly and destruction, in which figures and references proliferate. Valdés fragments, deconstructs and rebuilds at one and the same time, without it even being clear in which order these things happen. The same is true of his portraits, landscapes and still lifes. Everything becomes a mass of fragments that, in his hands, are eventually converted once more into a single image. In the baroque jumble of deconstructed elements which make up Valdés' works, he does not so much conceal his use of different techniques and materials as offer, through them, proof of deliberate design. Observing the form of his compositions - with those outlines drawn on the canvas which are then obscured by his application of colour - the painted image takes shape from an accumulation of layers with the addition of sewn-on patches: whereas, in contrast, the image in his sculpture emerges from the cross-fertilisation of different sources, on occasion drawing on a historical figure such as Cranach or Matisse. Nevertheless, what then emerges and comes to life, in a different dimension and different language, is something else: it is Valdés' own version. And the texture that he achieves comes from opposing procedures - one accidental, the other deliberate and by means of a new technique: sewing. Valdés’painting can lay claim to its own freely established identity because of the range of ideas that constitute his source material. The paintings themselves possess a tactile dimension, which speaks to the viewer's sense of touch. It goes beyond mere scale, such as one experiences with Chillida's sculpture, and offers a fountain of knowledge from the many layers of the artist's canvas. This combining of channels of expression opens up a third dimension of his work without abandoning those characteristics proper to visual stimulation. Details still contribute to the whole impression, and the artist's use paraphrasing substitutes for the role of memory. Professor Kosme de Barañano, Miguel Hernandez University, Altea and the Basque Country University, Bilbao. Published in Manolo Valdés, Recent Work – Paintings & Sculptures, exh. cat. Marlborough Fine Art, London (10 June – 16 July 2016)
Wood and bronze Acquired by the current owner from the author. Attached is a certificate of authenticity signed by the artist and dated July 25, 2023. Measurements: 140 x 120 cm
MANOLO VALDES Valencia 1942 Mujer con Abanico. 1987 Aguafuerte y Collage sobre papel Firmado a lápiz Numerado 61/75 Medidas 64 x 50 cm (huella); 90 x 75 cm (papel) Edita Galería Estiarte, Madrid 1987 EXPOSICIONES 2002 (29 de Abril-16 de Junio), "Manolo Valdés Obra Gráfica 1981-2002", Centro Cultural Casa de Vacas, Madrid BIBLIOGRAFÍA Victoria Hidalgo Nieto, "Manolo Valdés. Obra Gráfica 1981-2002". Tf editores, Ayuntamiento de Madrid 2002, nº 11. Pág 91
Artist/Designer; Manufacturer: Manolo Valdes (Spanish, b. 1942) Marking(s); notes: signed; ed. 3/7 Materials: bronze Dimensions (H, W, D): 8.75"h, 8"w, 5.75"d Additional Information: Work is an early example from the "Menina" series. Provenance: Artist | Marlborough Gallery, New York, New York | Lillian Heidenberg Fine Art, New York, New York.
ƒ-MANOLO VALDES (Né en 1942) Mujer con abanico II, 2007 Eau-forte, aquatinte en couleurs et collage Signée et numérotée 16/20 Quelques plis ondulés Etching, aquatint in colors and collage. Signed and numbered 16/20. Some wavy folds 170 x 100cm - 66,92 x 32,37in. Expert : Sylvie Collignon
MANOLO VALDÉS (Valencia, 1942). "Las Meninas", 1984. Rug designed by the artist. Virgin wool. 100% pure. Exemplary 82/125. It has a label on the back and a handwritten signature. Measurements: 170 x 240 cm. Manolo Valdés has made during his career exclusive designs for the realization of carpets even collaborating with the Royal Tapestry Factory. In this particular case, the carpet, which belongs to a series of 125 examples, has the design of the Valencian artist, recreated in virgin wool. The piece has the personal and irreverent style of Valdés who reinterprets the myths approaching figures such as Picasso and Velázquez, which in this work are evident through the figure of the Menina. Although the composition and aesthetics are close to the work "Dances for fear" by Paul Klee. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan, the silver medal of the II International Biennial of Engravings of Tokyo, the award of the Bridgestone Art Museum in Lisbon, the National Prize of Plastic Arts, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andres Bello in Venezuela, the award of the National Council of Monaco, the Gold Medal of Merit in Fine Arts, the Award of the Spanish Association of Art Critics and the Best Printmaking Artist Award, among others. Formally, Valdés creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images of the history of art. He is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
† Manolo Valdes (Spanish/New York, b. 1942) "Untitled" etching and color collage on paper pencil-signed and numbered "32/100" lower left, a "RoGallery" label en verso. Matted, glazed and framed.
MANOLO VALDÉS (Valencia, 1942). "Kandinsky", 1984. Series "Reina Mariana as a pretext". Etching on GVARRO paper. 58/75 copy. Signed and numbered in pencil. Measurements: 42 x 30 cm (print); 76 x 56.5 cm (paper). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
MANOLO VALDÉS (Valencia, 1942). "Malevich", 1984. Series "Reina Mariana as a pretext". Etching on GVARRO paper. 9/75 copy. Signed and numbered in pencil. Size: 42 x 30 cm (print) ; 76 x 56'5 cm (paper). Manolo Valdés was born in Valencia on 8 March 1942. In 1957 he enrolled at the San Carlos School of Fine Arts where he stayed for two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the death of Solbes in 1981, even though Toledo had left the group two years after its foundation. After the death of Rafael Solbes he continued to work alone in Valencia for a few years, until 1989, when he travelled to New York where he set up his studio and continued to experiment with new forms of expression. He is a member of the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid to make large sculptures, alternating his creative work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés produces a large format work in which the lights and colours express a feeling of tactility due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-metre high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several prizes, among which the following stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Prize, in Valencia; the National Fine Arts Prize of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andrés Bello in the class of the Band of Honour, in Venezuela. In 2012 he was commissioned to design the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
MANOLO VALDÉS (Valencia, 1942). "Helene VI", 2005. Etching and collage on paper, copy 37/50. Signed and justified by hand. Measurements: 167,5 x 96,5 cm; 204 x 136 cm (frame). The game of stylistic and referential combinations and permutations to the history of art was an inexhaustible source for Manolo Valdés. Here, in this etching with collage on paper, we are before a classic example of that playful spirit: we recognize the painting "Portrait of Helene" as the main reference. The female figure (Rubens' second wife) wrapping her nudity in a fur coat has been abstracted from her physiognomic features in Valdés' engraving, reduced to a silhouette on a brown background. However, she is not entirely detached from the sensual suggestion of the original. Helene's headdress houses the faces of the two protagonists of Gustav Klimt's painting "The Kiss", so that with this wink three identities, three myths, seem to merge into a single body. Of this same work, "Helene", Manolo Valdés made a variety of versions (in graphic work and in original work), changing the aesthetics of the hairstyle in each case (Warhol, Liechtenstein, Miró..., among many others). Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan (1965), the silver medal of the II International Biennial of Engravings of Tokyo (1979), the prize of the Bridgestone Art Museum in Lisbon (1979), the National Prize of Plastic Arts (1983), the medal of the International Festival of Plastic Artists of Baghdad (1986), the Decoration of the Order of Andres Bello in Venezuela (1993), the award of the National Council of Monaco (1997), the Gold Medal of Merit in Fine Arts (1998), the Award of the Spanish Association of Art Critics (2000) and the Best Print Artist Award (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritizing above any other content the pure act of painting. From the thematic point of view, Valdés is inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera or Zurbarán, and he never hides his models, but rather emphasizes them, even in the titles of his works. Formally, he creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
MANOLO VALDES Valencia 1942 La Noticia. 1981 Screen print on paper Signed in pencil Numbered 12/100 Measurements 64 x 49.5 cm Edited by Semanario La Calle, Valencia 1981 BIBLIOGRAPHY Victoria Hidalgo Nieto, "Manolo Valdés. Graphic Work 1981-2002". Tf editors, Madrid City Council 2002, no. 1. Page 71
MANOLO VALDES Valencia 1942 Bottle. 1987 Etching and collage on paper Signed in pencil Numbered 30/50 Measurements 24.5 x 16.5 cm (imprint); 57 x 38.5 cm (paper) Edita Galería Maeght, 1987 Each engraving contains a different wine label
MANOLO VALDES Valencia 1942 Urban landscape. 1997 Oil on burlap Back signed, titled and dated 1997 Measurements 188 x 114.3 cm PROVENANCE (label on back) Marlborough Gallery, New York David Cervelló Galería D'Art, Barcelona Private collection BIBLIOGRAPHY Tomás LLorens, "Manolo Valdés: The timelessness of art", Ed. Villegas editors, Bogotá 1999
MANOLO VALDÉS (Valencia, 1942) "Claribel", 2002. Engraving with collage, copy I/XX. Signed and justified by hand. Measurements: 30 x 37 cm (print); 50 x 60 cm (paper); 65 x 75 cm (frame). Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan (1965), the silver medal of the II International Biennial of Engravings of Tokyo (1979), the prize of the Bridgestone Art Museum in Lisbon (1979), the National Prize of Plastic Arts (1983), the medal of the International Festival of Plastic Artists of Baghdad (1986), the Decoration of the Order of Andres Bello in Venezuela (1993), the award of the National Council of Monaco (1997), the Gold Medal of Merit in Fine Arts (1998), the Award of the Spanish Association of Art Critics (2000) and the Best Print Artist Award (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritizing above any other content the pure act of painting. From the thematic point of view, Valdés is inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera or Zurbarán, and he never hides his models, but rather emphasizes them, even in the titles of his works. Formally, he creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
MANOLO VALDÉS (Valencia, 1942). "Felipe IV", 1984. Oil on canvas. Signed in the lower left corner. Measurements: 130 x 97 cm; 132 x 99 cm (frame). This is an iconic work by Manolo Valdés, the original painting of his avant-garde reinterpretation of the Velázquez portrait of Philip IV. In a process of extreme plastic purification, the ruff and the profile of the monarch are reduced to geometric planes and synthetic lines, as well as the court costume. The character, represented full-length and in the same posture as Velázquez's, holds a letter in his right hand, which Valdés Leal will replace by respective collages in a later series of "Caballeros". Likewise, he will make a second version of this same painting in which he will darken the palette to the maximum ("Felipe IV-II"). In fact, the chromatic reduction is already marked in this first version (black, gray, white and ochre with carmine dots), which gives the figure a spectral intensity. Valdés thus seeks to dissect an archetype loaded with symbolism for being the repository of a long history of representation of power. Valdés never ceased to dialogue with the painting of the past, and over the years (especially since the dissolution of Equipo Crónica) he gained in reflexive refinement and moved away from the brazenness of his first stage. Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humor and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently resides and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has received are the Lissone and Biella of Milan, the silver medal of the II International Biennial of Engravings of Tokyo, the award of the Bridgestone Art Museum in Lisbon, the National Prize of Plastic Arts, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andres Bello in Venezuela, the award of the National Council of Monaco, the Gold Medal of Merit in Fine Arts, the Award of the Spanish Association of Art Critics and the Best Printmaking Artist Award, among others. Formally, Valdés creates a large format work in which lights and colors express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images of the history of art. He is represented in some of the most outstanding museums around the world, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Georges Pompidou Center and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
MANOLO VALDES Valencia 1942 La Noticia. 1981 Silkscreen on paper Signed in pencil Numbered VI/X Measurements 64 x 50 cm Edited by the Artist, Valencia 1981 BIBLIOGRAPHY Victoria Hidalgo Nieto, "Manolo Valdés. Graphic Work 1981-2002". Tf editors, Madrid City Council 2002, no. 1. Page 71
MANOLO VALDÉS (Valencia, 1942). "Kandinsky", 1984. Series "Reina Mariana as a pretext". Etching on GVARRO paper. 58/75 copy. Signed and numbered in pencil. Measurements: 42 x 30 cm (print); 76 x 56.5 cm (paper). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
MANOLO VALDÉS (Valencia, 1942). "Braque", 1984. Series "Reina Mariana as a pretext". Etching on GVARRO paper. 58/75 copy. Signed and numbered in pencil. Measurements: 42 x 30 cm (print) ; 76 x 56.5 cm (paper). Manolo Valdés was born in Valencia on March 8, 1942. In 1957 he enrolled in the School of Fine Arts of San Carlos where he spent two years, abandoning his studies to devote himself to painting. In 1964 he founded the artistic group Equipo Crónica together with Juan Antonio Toledo and Rafael Solbes, in which he remained until Solbes' death in 1981, even though two years after the group was founded, Toledo had left it. After the death of Rafael Solbes he continued working alone in Valencia for a few years, until 1989, when he traveled to New York where he set up his studio and continued experimenting with new forms of expression. He belongs to the Marlborough Gallery and the Freites Gallery. He also set up a studio in Madrid for the realization of large sculptures, alternating his work in both cities. Influenced by Velázquez, Rembrandt, Rubens and Matisse, Manolo Valdés creates a large format work in which lights and colors express a feeling of tactility by the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. In addition to the works exhibited as part of Equipo Crónica, Valdés had more than 70 solo and group exhibitions between 1965 and 1981. As a sculptor, he is the author of La Dama del Manzanares (2003), a 13-meter high work located in the Parque Lineal del Manzanares (Madrid). In 2005 he created the sculptural group Asturcones, for the city of Oviedo. Valdés has received several awards, among which stand out: in 1965 the Lissone and Biella prizes, in Milan (Italy), in 1979, the Silver Medal of the II International Biennial of Engravings in Tokyo (Japan) and the Bridgestone Art Museum Prize in Lis'79 in Lisbon (Portugal); in 1983 the National Prize of Plastic Arts; the Alfons Roig Award, in Valencia; the National Prize of Fine Arts of Spain; in 1986 the Medal of the Biennial of the International Festival of Plastic Artists, in Baghdad (Iraq) and in 1993 the Decoration of the Order of Andres Bello in the class of Band of Honor, in Venezuela. In 2012 he was in charge of designing the poster for the bullfighting season at the Real Maestranza de Caballería in Seville.
