Lucio Muñoz Paintings & Artwork for Sale | Lucio Muñoz Art Value Price Guide

Dec. 17, 2024
LUCIO MUÑOZ Madrid 1929-1998 GF No. 5. 1983 Etching and
Est: -
LUCIO MUÑOZ Madrid 1929-1998 GF No. 5. 1983 Etching and aquatint on handmade Segundo Santos paper Signed in pencil and dated 1983 Numbered 41/50 Dimensions 80 x 120 cm (print); 110 x 150 cm (paper) Published by Lucio Muñoz, Madrid 1983 BIBLIOGRAPHY Juan Manuel Bonet, "Lucio Muñoz, Obra Gráfica 1960-1988", Bilbao Fine Arts Museum 1989, No. 102. Page 124
Subastas Segre
Oct. 30, 2024
LUCIO MUÑOZ Madrid 1929-1998 Tum X. 1972 Oil on wo...
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Tum X. 1972 Oil on wood Signed and dated Back signed, dated and titled Measurements 81 x 100 cm PROVENANCE (label on the back) Juana Mordó Gallery, Madrid Private collection EXHIBITIONS 1998 (November-December), "15 contemporaries of Paso", Barrié Foundation of la Maza, A Coruña BIBLIOGRAPHY Luis Caruncho and others, "15 contemporaries of Paso", Ed. Barrié de la Maza Foundation, A Coruña 1998, s/py catalog cover
Subastas Segre
Sep. 24, 2024
Lucio Munoz
Est: $10,000 - $15,000
Spanish, 1929-1998 Para Lenz, 1993 Signed and dated Lucio Munoz 1993 (ur), signed and dated Lucio Munoz 1993 and inscribed as titled on the reverse Mixed media on board 39 3/8 x 80 3/4 inches (100 x 205 cm) Unframed Provenance: Marlborough Galleries, New York Overall good condition. Collaged elements appear intact, and without losses, or signs of lifting. No apparent losses or wear apparent during inspection.
DOYLE Auctioneers & Appraisers
Jun. 25, 2024
Lucio Muñoz (1929-1998)
Est: €5,000 - €8,000
"Buhonero" (Peddler) (1965) Signed and dated 1965 upper left Signed and titled on the reverse Mixed media on panel, 53.9 x 64.8 cm Provenance: - Galerie Buchholz, Munich, 1966 - Private collection, the Netherlands Note: Starting from the 1950s, Muñoz began experimenting with materials beyond traditional paint and canvas. He incorporated wood, often burned or carved, into his works, creating textured surfaces that conveyed profound emotional and spiritual depth. This innovative approach set him apart in the burgeoning Spanish avant-garde scene. His marriage to artist Amalia Avia further enriched his creative world, as the couple shared a deep passion for art and often inspired each other's work. His abstract works dating from the 1960s gained acclaim both nationally and internationally, including a notable presence at the Venice Biennale.
AAG Auctioneers
May. 21, 2024
LUCIO MUÑOZ - Sin título
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Sin título. 1986 Pintura sobre papel hecho a mano encolado a tabla Firmado y fechado 1986 Medidas 53 x 63 cm
Subastas Segre
May. 21, 2024
LUCIO MUÑOZ - Calcinación de un pájaro
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Calcinación de un pájaro. 1970 Pintura sobre tabla Firmado y fechado 1970 Dorso firmado, fechado y titulado Medidas 65 x 81 cm PROCEDENCIA (etiqueta al dorso) Galería Juana Mordó, Madrid Colección particular
Subastas Segre
Apr. 09, 2024
LUCIO MUÑOZ Madrid (1929) / (1998) "Untitled", 1985
Est: €360 - €480
Justified Engraving 25/5, signed and dated in pencil on the bottom Measurements: Imprint: 51 x 35.5 cm paper: 76 x 56 cm
Ansorena
Mar. 20, 2024
Lucio Muñoz. No title
Est: -
Etching and aquatint on Sgundo Santos paper. Signed and dated (88) in the lower right corner. Numbered (18/75) in the lower left corner. Edited by Communication and Management Consultants. Bilbiography: - BONET, Juan Manuel and LOGROÑO, Miguel: Lucio Muñoz, Graphic Work 1960-1988. Bibao Fine Arts Museum. Bilbao, 1989. Cat. No. 132. Page 154. Rep Col
Duran Arte y Subastas
Mar. 05, 2024
LUCIO MUÑOZ (Madrid, 1929 - 1998). Untitled, 1995. Engraving, copy XVIII/XXXIV. Signed and justified by hand.
Est: €1,200 - €1,500
LUCIO MUÑOZ (Madrid, 1929 - 1998). Untitled, 1995. Engraving, copy XVIII/XXXIV. Signed and justified by hand. Measurements: 86 x 62 cm. One of the most outstanding exponents of Spanish informalism, pioneer of abstraction in the country, Lucio Muñoz began his career focused on landscape, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamin Palencia. He began his training at the Academia de Bellas Artes de San Fernando, where he was a disciple of Eduardo Chicharro. After finishing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel Gallery in Santander, consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he participates in a collective exhibition of the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a scholarship from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards informalism, leaving behind the initial influences of cubism and expressionism. From this moment on, Muñoz became fully committed to abstract expressionism. He returns to Spain and holds two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance that Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching informalism in a totally personal way. His works, mostly colorful, represent the purest informalism. After a first stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting becomes less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. In these years his influences broaden and include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he had his first solo exhibition abroad, which took place at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York, at the Staemplfi Gallery. Since then his solo exhibitions have taken place all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels. From the end of the sixties Muñoz began, little by little, his most fantastic and nocturnal period, a tendency that would last until 1981. The exhibition held that year at the Juana Mordó gallery announces the change towards a flatter and lighter language, as we find in the series of large-format color engravings that the artist made between 1983 and 1984.
Setdart Auction House
Mar. 05, 2024
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). "Jafo before dividing", 1973. Mixed media on board. Presents label on the back of the Juana Mordó Gallery (Madrid). Signed and dated in the upper left area.
Est: €14,000 - €16,000
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). "Jafo before dividing", 1973. Mixed media on board. Presents label on the back of the Juana Mordó Gallery (Madrid). Signed and dated in the upper left area. Signed, dated and titled on the back. Measurements: 73,5 x 92 cm; 78 x 96,5 cm (frame). A set of elements make up this work in which Muñoz, manages to dominate the chaos, through a studied and orchestrated composition, in which the author gives the viewer an expressive plastic that reaches a high degree of lyricism, and that rises above its own support appealing to the space that is outside. Freed from the self-imposed, he manages to create a plastic coherence through the harmony in the use of materials. One of the most outstanding exponents of Spanish informalism, pioneer of abstraction in the country, Lucio Muñoz began his career focused on landscape, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamin Palencia. He began his training at the Academia de Bellas Artes de San Fernando, where he was a disciple of Eduardo Chicharro. After finishing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel Gallery in Santander, consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he participates in a collective exhibition of the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a scholarship from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards informalism, leaving behind the initial influences of cubism and expressionism. From this moment on, Muñoz became fully committed to abstract expressionism. He returns to Spain and holds two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance that Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching informalism in a totally personal way. His works, mostly colorful, represent the purest informalism. After a first stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting becomes less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. In these years his influences broaden and include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he had his first solo exhibition abroad, which took place at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York, at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels.
Setdart Auction House
Feb. 21, 2024
Lucio Muñoz. Monument to Ignatius
Est: -
Woodcut on handmade paper. Signed and dated (93) in the lower right corner. Numbered (70/90) and titled in the lower left corner.
Duran Arte y Subastas
Feb. 06, 2024
LUCIO MUÑOZ - Calcination of a bird
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Calcination of a bird. 1970 Painting on panel Signed and dated 1970 Back signed, dated and titled Measurements 65 x 81 cm PROVENANCE (label on the back) Juana Mordó Gallery, Madrid Private collection
Subastas Segre
Jan. 30, 2024
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). Untitled, 1982. Carborundum engraving. Copy 62/75. Signed, dated and justified by hand. It presents light foxing stains.
Est: €300 - €400
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). Untitled, 1982. Carborundum engraving. Copy 62/75. Signed, dated and justified by hand. It presents light foxing stains. Measurements: 24 x 16 cm (paper), 40 x 28 cm (frame). One of the most outstanding exponents of Spanish informalism, pioneer of abstraction in the country, Lucio Muñoz began his career focused on landscape, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamin Palencia. He began his training at the Academia de Bellas Artes de San Fernando, where he was a disciple of Eduardo Chicharro. After finishing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He makes his individual debut in 1955, with an exhibition at the Dintel Gallery in Santander, composed of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he participates in a collective exhibition of the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a scholarship from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards informalism, leaving behind the initial influences of cubism and expressionism. From this moment on, Muñoz became fully committed to abstract expressionism. He returns to Spain and holds two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance that Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching informalism in a totally personal way. His works, mostly colorful, represent the purest informalism. After a first stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting becomes less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. In these years his influences broaden and include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he had his first solo exhibition abroad, which took place at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York, at the Staemplfi Gallery. Since then his solo exhibitions have taken place all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels. From the end of the sixties Muñoz began, little by little, his most fantastic and nocturnal period, a tendency that would last until 1981. The exhibition held that year at the Juana Mordó gallery announces the change towards a flatter and lighter language, as we find in the series of large format color engravings that the artist made between 1983 and 1984, prints that will serve as a way of experimentation to achieve knowledge that he will later apply to his painting. Around the same time he was awarded the National Plastic Arts Prize (1983), and his language began to focus on an aesthetic closer to the landscape, naturalistic and lyrical, again integrating wood as another element. Shortly afterwards, in 1989, the Reina Sofía Museum in Madrid dedicated to him the first anthological exhibition of his career (in 2001 it dedicated an exhibition to his work on paper). In addition, Lucio Muñoz received other important awards in Spain.
Setdart Auction House
Dec. 19, 2023
LUCIO MUÑOZ Madrid (1929) / (1998) "Lum 2", 1980
Est: €300 - €400
Etching and aquatint on paper Numbered HC 7/15, signed and dated in pencil on the bottom Measurements: Imprint: 37 x 58.5 cm; paper: 55 x 74cm
Ansorena
Dec. 12, 2023
LUCIO MUÑOZ Madrid 1929-1998 Memory of Trou. 1989 Oil, material, wood on panel <
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Memory of Trou. 1989 Oil, material, wood on panel Back signed, titled and dated 1989 Measurements 210 x 210 cm EXHIBITIONS 1989 (June 14-19), International Fair Art Basel Art 20'89, Switzerland BIBLIOGRAPHY Francisco Calvo Serraller and Víctor Nieto Alcaide, "Lucio Muñoz", Ed. Galería Juana Mordó, Madrid, s/p
Subastas Segre
Dec. 12, 2023
LUCIO MUÑOZ Madrid 1929-1998 Small painting #3. 1961 Oil on worked board Ba
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Small painting #3. 1961 Oil on worked board Back signed and dated 1961 Measurements 28 x 18 cm PROVENANCE (label on the back) Bertha Schaffer Gallery, New Yoir Private collection
Subastas Segre
Nov. 06, 2023
LUCIO MUÑOZ (Madrid, 1929-1998). No title. Etching and aquatint on paper. Copy 31/110. Signed and justified by hand.
Est: €400 - €500
LUCIO MUÑOZ (Madrid, 1929 - 1998). Untitled. Etching and aquatint on paper. Copy 31/110. Signed and justified by hand. Size: 24 x 24 cm (print), 40 x 50 cm (paper). He is one of the most outstanding exponents of Spanish informalism, a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a grant from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards Informalism, leaving behind the initial influences of Cubism and Expressionism. From this point onwards Muñoz became fully committed to Abstract Expressionism. He returned to Spain and held two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels. From the late sixties onwards Muñoz gradually began his most fantastic and nocturnal period, a trend that would continue until 1981. The exhibition held that year at the Juana Mordó gallery heralded the change towards a flatter, lighter language, such as that found in the series of large-format colour engravings the artist produced between 1983 and 1984.
Setdart Auction House
Oct. 25, 2023
Lucio Muñoz. No title
Est: -
Etching and aquatint on Segundo Santos handmade paper. Signed and dated (86) in the lower right corner. Numbered (HC - Hors Commerce 14/25) in the lower left corner. Edited by Telefónica. Bibliography: - BONET, Juan Manuel and LOGROÑO, Miguel: Lucio Muñoz, Graphic Work 1960-1988. Bibao Fine Arts Museum. Bilbao, 1989. Cat. No. 123. Page 145. Rep Col.
Duran Arte y Subastas
Oct. 04, 2023
LUCIO MUÑOZ Madrid (1929) / (1998) "Untitled", 1985
Est: €525 - €700
Engraving Numbered 25/5, signed and dated in pencil at the bottom Measurements: Print: 51 x 35.5 cm paper: 76 x 56 cm
Ansorena
Sep. 27, 2023
Lucio Muñoz. fiss
Est: -
Etching and aquatint on Guarro paper. Signed and dated (71) in the lower right corner. Numbered (PE - Proof of State) in the lower left corner. Edition of 75 copies. Edited by Grupo 15. Bibliography: - BONET, Juan Manuel and LOGROÑO, Miguel.: Lucio Muñoz, Obra Gráfica 1960-1988. Bibao Fine Arts Museum. Bilbao, 1989. Cat. No. 57. Page 79. Rep Col
Duran Arte y Subastas
Sep. 19, 2023
LUCIO MUÑOZ - GF #10
Est: -
LUCIO MUÑOZ Madrid 1929-1998 GF n.º 10. 1984 Etching and aquatint on Segundo Santos paper Signed in pencil and dated 1984 Numbered P/A (proof of artist) 4/5 Measurements 100 x 80 cm. (fingerprint); 124 x 103 cm. (paper) Edita Lucio Muñoz, 1983 PROVENANCE Juana Mordó Gallery, Madrid Private collection EXHIBITIONS 1984 (February), "Lucio Muñoz. Engravings", Juana Mordó Gallery, Madrid BIBLIOGRAPHY Juan Manuel Bonet, "Lucio Muñoz, Graphic Work 1960-1988", Bilbao Fine Arts Museum 1989, no. 106. Page 128
Subastas Segre
Jul. 25, 2023
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). “Metamorfosis cárpica”, 1978. Mixed media on panel. Signed and dated in the upper left corner. Signed, dated and titled on the back.
Est: €18,000 - €20,000
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). "Metamorphosis cárpica", 1978. Mixed media on panel. Signed and dated in the upper left corner. Signed, dated and titled on the back. Measurements: 92 x 73 cm; 112 x 94 cm (frame). Lucio Muñoz's pictorial evolution was marked by a process of synthesis, in which he gave priority to the material and pictorial elements themselves, above all giving wood a characteristic treatment. He had already been treating this material since the 1960s (burns, mould, etc.), integrating its ochre textures with the pictorial layer. This reaches a singular expressive milestone in "Capric Metamorphosis". In the artist's own words: "After so many years I have given the wood total protagonism and total responsibility for the expression in the painting. Even the colour has been ceded to the wood and I rarely superimpose it, at least in this pictorialist sense. It is no longer "painting on panel", but it is not sculpture either, I insist on my paradox that it is more "painting" than ever", he says. One of the foremost exponents of Spanish Informalism and a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape painting, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtains a grant from the French state to complete his training in Paris. He returned to Spain and held two exhibitions which show the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels.
Setdart Auction House
Jul. 18, 2023
LUCIO MUÑOZ Madrid (1929) / (1998) "Untitled", 1988
Est: €525 - €700
Engraving. Signed, dated and justified in pencil at the bottom 44/75 Measurements: Paper: 44 x 32 cm.
Ansorena
Jun. 28, 2023
Lucio Munoz. Thorber No. 4 (1990)
Est: -
Mixed technique (wood, binder, pigment and sand) on panel. Signed and dated (90) in the lower left corner. Signed, titled and dated (90) on the back. Provenance: - Barcelona Gallery, Barcelona (Label on the back). Exhibitions: - Barcelona Gallery, Barcelona, May 1990.
Duran Arte y Subastas
Jun. 13, 2023
LUCIO MUÑOZ Madrid (1929) / (1998) "Untitled", 1987
Est: €135 - €180
Engraving. Signed, dated and justified 41/75 at the bottom. Measurements: Footprint: 24 x 16 cm
Ansorena
Jun. 07, 2023
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). "Sen Mol", 1989. Mixed media on wood. Signed, dated and titled on the back. With Letamendi Gallery label on the back.
Est: €25,000 - €30,000
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). "Sen Mol", 1989. Mixed media on wood. Signed, dated and titled on the back. With Letamendi Gallery label on the back. Size: 170 x 200 cm. In the 1980s Lucio Muñoz began a pictorial stage defined by a process of synthesis, in which he sought to exalt the composition, thus reducing the pictorial elements and converting the presence of wood into the work itself. In the artist's own words, "After so many years I have given the wood total protagonism and total responsibility for the expression in the painting. Even the colour has been ceded to the wood and I rarely superimpose it, at least in that pictorialist sense. It is no longer "painting on panel", but it is not sculpture either, I insist on my paradox that it is more "painting" than ever", he says. One of the foremost exponents of Spanish Informalism and a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape painting, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a grant from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards Informalism, leaving behind the initial influences of Cubism and Expressionism. From this point onwards Muñoz became fully committed to Abstract Expressionism. He returned to Spain and held two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels.
Setdart Auction House
May. 10, 2023
Lucio Muñoz - Composition, 1971
Est: €80 - €100
Signed and dated in pencil lower right
Finarte
May. 06, 2023
MUÑOZ MARTÍNEZ, LUCIO Capric Metamorphosis
Est: -
Oil on panel made by the artist LUCIO MUÑOZ in 1978. Measurements: 92x73 cm.
Duran Arte y Subastas
Apr. 27, 2023
LUCIO MUÑOZ - Sin título
Est: -
LUCIO MUÑOZ - Sin título
Arte Subastas Bilbao
Apr. 27, 2023
LUCIO MUÑOZ - Abstracción
Est: -
LUCIO MUÑOZ - Abstracción
Arte Subastas Bilbao
Apr. 26, 2023
Lucio Munoz. No title
Est: -
Etching and aquatint on Segundo Santos paper. Signed, dated (1981) and dedicated in the lower right corner. Edition of 90 copies. Edited by Las Heras. Bibliography: - BONET, Juan Manuel and LOGROÑO, Miguel.: Lucio Muñoz, Obra Gráfica 1960-1988. Bibao Museum of Fine Arts. Bilbao, 1989. Cat. No. 90. Page 112. Rep Col
Duran Arte y Subastas
Apr. 26, 2023
Lucio Munoz. Untitled
Est: -
Pencil drawing on paper. Signed and dated (1978) in the upper left corner.
Duran Arte y Subastas
Apr. 26, 2023
Lucio Munoz. A portrait of Carmen Santonja
Est: -
Oil on canvas. Signed and dated (1952) in the lower left corner. Restorations.
Duran Arte y Subastas
Apr. 01, 2023
MUNOZ, LUCIO. 1929 - MADRID - 1998. UNTITLED. COLOR ETCHING/HANDMADE PAPER, SIGNED LUCIO MUNOZ ON
Est: -
Munoz, Lucio. 1929 - Madrid - 1998. untitled. Color etching/handmade paper, signed Lucio Munoz on the lower right and numbered PE 10/10 on the lower left. PE 10/10, sheet approx. 79 x 59 cm, framed behind glass 104,5 x 85 cm, unopened. Munoz, Lucio. 1929 - Madrid - 1998. Ohne Titel. Farbradierung/Bütten, mit Blstft. u. re. sign. Lucio Munoz sowie u. li. num. PE 10/10, Blatt ca. 79 x 59 cm, hinter Glas ger. 104,5 x 85 cm, ungeöffn.
Historia Auctionata
Mar. 28, 2023
LUCIO MUÑOZ - Tum X
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Tum X. 1972 Oil on wood Signed and dated 1972 Back signed, dated and titled Measurements 81 x 100 cm < br> PROVENANCE (label on the back) Juana Mordó Gallery, Madrid Private collection EXHIBITIONS 1998 (November-December), "15 contemporaries of El Paso", Fundación Barrié de la Maza, A Coruña BIBLIOGRAPHY Luis Caruncho and others, "15 contemporaries of El Paso", Ed. Fundación Barrié de la Maza, A Coruña 1998, reprod. cat. exp. s/p and catalog cover
Subastas Segre
Mar. 15, 2023
LUCIO MUÑOZ (Madrid, 1929 - 1998) "Untitled" 1986
Est: €100 - €150
LUCIO MUÑOZ (Madrid, 1929 - 1998) "Untitled" 1986 Etching and aquatint Artist's proff signed, dedicated, dated in 1896 and numbered I/XV 52 x 33 cm 100 - 150 €
Bayeu Subastas
Mar. 15, 2023
LUCIO MUÑOZ (Madrid, 1929 - 1998) "Untitled"
Est: €100 - €150
LUCIO MUÑOZ (Madrid, 1929 - 1998) "Untitled" Etchinf and aquatint Signed, dated 1987 and numbered 44/75 49 x 33 cm 100 - 150 €
Bayeu Subastas
Feb. 08, 2023
LUCIO MUÑOZ (Madrid, 1929 - 1998). "Collage 2", 1994. Collage on paper. Signed and dated in the lower left corner. Signed, dated and titled on the back.
Est: €7,000 - €8,000
LUCIO MUÑOZ (Madrid, 1929 - 1998). "Collage 2", 1994. Collage on paper. Signed and dated in the lower left corner. Signed, dated and titled on the back. Size: 59 x 52 cm; 66 x 59 cm (frame). This work belongs to one of the most prolific periods of Lucio Muñoz's artistic career, which was marked by a plastic development that started from organic concepts, towards one in which he reflects on the architectural. Muñoz manages to dominate chaos through a studied and orchestrated composition, in which he gives the spectator an expressive plastic that reaches a high degree of lyricism, and which rises above its own support, appealing to the space found outside. One of the most outstanding exponents of Spanish Informalism and a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape painting, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a grant from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards Informalism, leaving behind the initial influences of Cubism and Expressionism. From this point onwards Muñoz became fully committed to Abstract Expressionism. He returned to Spain and held two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels. From the late sixties onwards Muñoz gradually began his most fantastic and nocturnal period, a trend that would continue until 1981. The exhibition held that year at the Juana Mordó gallery heralded the change towards a flatter, lighter language, such as that found in the series of large-format colour engravings the artist produced between 1983 and 1984.
Setdart Auction House
Feb. 07, 2023
LUCIO MUÑOZ - GF No. 12
Est: -
LUCIO MUÑOZ Madrid 1929-1998 GF n.º 12. 1984 Etching and aquatint on hand-made Second Santos paper Signed in pencil and dated 1984 Numbered 36/ 50 Measures 80 x 100 cm (footprint); 103 x 117.5 cm (paper) Edited by Lucio Muñoz, Madrid 1984 BIBLIOGRAPHY Juan Manuel Bonet, "Lucio Muñoz, Graphic Work 1960-1988", Bilbao Fine Arts Museum 1989 , No. 110. Page 132
Subastas Segre
Feb. 07, 2023
LUCIO MUÑOZ - Untitled
Est: -
LUCIO MUÑOZ Madrid 1929-1998 Untitled. 1969 Oil on panel Back signed and dated 1969 Measurements 60 x 73 cm PROVENANCE (label on back) Juana Mordó Gallery, Madrid Private collection
Subastas Segre
Jan. 18, 2023
LUCIO MUÑOZ Madrid (1929) / (1998) "Untitled", 1980
Est: €360 - €480
Engraving Signed, dated and justified in pencil at the bottom Paper size: 58 x 81 cm Size: Print: 35 x 48 cm
Ansorena
Dec. 19, 2022
LUCIO MUÑOZ (Madrid, 1929 - 1998) "Elogio de Mo"
Est: €30,000 - €40,000
LUCIO MUÑOZ (Madrid, 1929 - 1998) "Elogio de Mo" Mixed media on panel Signed and dated in 1988 Titled on the reverse 160 x 185 cm 30.000 - 40.000 €
Bayeu Subastas
Dec. 13, 2022
LUCIO MUÑOZ Madrid (1929) / (1998) "Untitled", 1987
Est: €270 - €360
Engraving Signed, dated and justified 41/75 at the bottom Measurements: Print: 24 x 16 cm
Ansorena
Dec. 13, 2022
VARIOUS AUTHORS (20th century) "Suite", 1986
Est: €1,050 - €1,400
Two serigraphs and one engraving Works belonging to the portfolio of Iberosuiza impresor, Valencia and edited by Telefónica, Madrid (imcomplete) Luis Gordillo (1934), "Untitled", 79 x 50 cm Lucio Muñoz, (1929/1998), "Untitled", 1986, Print: 49 x 32 cm Reproduced in Juan Manuel Bonet "Lucio Muñoz, Graphic Work 1960-1988" Bilbao Fine Arts Museum 1989, nº123, p. 145 Antonio Saura, (1930/1998), "Head", 1986, 79 x 50 cm Reproduced in Olivier Weber-Caflisch and Patrick Cramer "Antonio Saura graphic work". Patrick Cramer Editor, Geneve 2000 All signed and justified 25/75 in pencil at the bottom.
Ansorena
Nov. 23, 2022
Lucio Muñoz, Lucio Muñoz-Eduadro Chicharro
Est: -
Folder with 19 serigraphs on Guarro paper. All of them signed and dated (1970) in the lower right corner. Numbered in the lower left corner. Print run of 100 copies. Edited by the Juana Mordó Gallery, Madrid. Printed by Abel Martín. Include editing folder. Bibliography: - BONET, Juan Manuel and LOGROÑO, Miguel.: Lucio Muñoz, Graphic Work 1960-1988. Museum of Fine Arts of Bibao. Bilbao, 1989. Cat. No. 40-44. P. 62-66. Rep Col.
Duran Arte y Subastas
Oct. 27, 2022
LUCIO MUÑOZ (Madrid, 1929 - 1998). "Collage 2", 1994. Collage on paper. Signed and dated in the lower left corner. Signed, dated and titled on the back.
Est: €8,000 - €9,000
LUCIO MUÑOZ (Madrid, 1929 - 1998). "Collage 2", 1994. Collage on paper. Signed and dated in the lower left corner. Signed, dated and titled on the back. Size: 59 x 52 cm; 66 x 59 cm (frame). This work belongs to one of the most prolific periods of Lucio Muñoz's artistic career, which was marked by a plastic development that started from organic concepts, towards one in which he reflects on the architectural. Muñoz manages to dominate chaos through a studied and orchestrated composition, in which he gives the spectator an expressive plastic that reaches a high degree of lyricism, and which rises above its own support, appealing to the space found outside. One of the most outstanding exponents of Spanish Informalism and a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape painting, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his individual debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a grant from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards Informalism, leaving behind the initial influences of Cubism and Expressionism. From this point onwards Muñoz became fully committed to Abstract Expressionism. He returned to Spain and held two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels. From the late sixties onwards Muñoz gradually began his most fantastic and nocturnal period, a trend that would continue until 1981. The exhibition held that year at the Juana Mordó gallery heralded the change towards a flatter, lighter language, such as that found in the series of large-format colour engravings the artist produced between 1983 and 1984.
Setdart Auction House
Oct. 25, 2022
Lucio Muñoz. Untitled
Est: -
Silkscreen and sand with pigmented binder on paper. Signed and dated (1960) in the lower right corner. Edition of 500 copies. Edited by Nebli Gallery, Madrid. Printed by Abel Martin. Work published on the occasion of the 1st Nebli Painting Prize corresponding to 1960.
Duran Arte y Subastas
Oct. 11, 2022
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 – 1998). "Reco Violace", Box 13, 1974. Mixed technique on board. Presents exhibition label at North Carolina Museum of Art Raleigh N.C, 1975. It has minor flaws on the outside of the frame.
Est: €14,000 - €16,000
LUCIO MUÑOZ MARTÍNEZ (Madrid, 1929 - 1998). "Reco Violace", Box 13, 1974. Mixed media on panel. Presents an exhibition label from the North Carolina Museum of Art Raleig N.C., 1975. It has slight faults on the outside of the frame. Measurements: 130 x 97 cm; 148, 5 x 115 cm (frame). In 1994, Lucio Muñoz began his last pictorial stage defined by a process of synthesis, in which he sought to exalt the composition, thus reducing the pictorial elements and converting the presence of wood into the work itself and not into an added material as can be seen in this work. In the artist's own words, "After so many years I have given the wood total protagonism and total responsibility for the expression in the painting. Even the colour has been ceded to the wood and I rarely superimpose it, at least in this pictorialist sense. It is no longer "painting on panel", but it is not sculpture either, I insist on my paradox that it is more "painting" than ever". One of the foremost exponents of Spanish Informalism and a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape painting, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his solo debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a grant from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards Informalism, leaving behind the initial influences of Cubism and Expressionism. From this point onwards Muñoz became fully committed to abstract expressionism. He returned to Spain and held two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels.
Setdart Auction House