Manolo Valdés, ‘Retrato de una Joven de la Nobleza’, 1992, Phillips

Property Subject to VAT Section 4, 5%; Property Subject to Artist's Resale Right (see Conditions of Sale for further information)
Property from the Estate of Julian J. Aberbach and Anne Marie Aberbach

Signature: signed, titled and dated 'M VALDÉS "RETRATO DE UNA jOVEN DE LA NOBLEZA" 1992' on the reverse

Benjamin Villegas, Manolo Valdés: The timelessness of art, Bogota, 1999, p. 221 (illustrated)

Galería Marlborough, Madrid
Galleria d’Arte il Gabbiano (acquired from the above in 1995)
Acquired from the above by the present owner

About Manolo Valdés

Declaring himself “a consumer of art and its history,” Manolo Valdés ranges deftly across mediums, producing witty, art-historically informed drawings, paintings, prints, and sculptures that explore history and contemporary culture, politics and everyday life. Approaching each medium as part of an interconnected whole, Valdés asserts: “That is what art is all about—how to invent many projects from one single image.” Trained as a painter, Valdés grew up imbibing the works of Spanish masters like Diego Velázquez and Pablo Picasso, later becoming influenced by Pop Art. With Rafael Solbes and Joan Toledo, he formed Equipo Crónica group (early 1960s-1981), utilizing the Pop idiom to criticize Spanish dictator Francisco Franco in scathing paintings. References to Spain abound in his work, in portraits resembling its royalty, sculptures recalling Don Quixote and Sancho Panza, or in the recurring, semi-abstracted figure of the Infanta from Velazquez’s Las Meninas (1656).

Spanish, b. 1942, Valencia, Spain, based in New York, New York