View full screen - View 1 of Lot 1025. Fernando Zobel 費南度·索培爾 | Sin titulo (Dedicado à Gerardo Rueda) 無題(獻給杰拉爾多·魯達).

Fernando Zobel 費南度·索培爾 | Sin titulo (Dedicado à Gerardo Rueda) 無題(獻給杰拉爾多·魯達)

Property from an Important Private European Collection | 欧洲重要私人收藏

Fernando Zobel 費南度·索培爾 | Sin titulo (Dedicado à Gerardo Rueda) 無題(獻給杰拉爾多·魯達)

Fernando Zobel 費南度·索培爾 | Sin titulo (Dedicado à Gerardo Rueda) 無題(獻給杰拉爾多·魯達)

Property from an Important Private European Collection 

Fernando Zobel

1924 - 1984

Sin titulo (Dedicado à Gerardo Rueda)

oil on canvas with silver leaf

signed and inscribed; signed, inscribed, numbered 314 and dated Jul 20/59 on the reverse

40 by 50 cm; 15 ½ by 19 ¾ in. 









Para Rueda ZOBEL (左下)

ZOBEL Para Gerardo, 314,Jul 20/59(畫背)

40 by 50 公分; 15¾by 19½英寸

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Acquired directly from the artist, thence by descent to the previous owner

Private European Collection

Sotheby's Hong Kong, 5 April 2014, Lot 135

Acquired directly from the above sale by the present private European collector



香港, 蘇富比,2014年4月5日, 拍品編號135


‘[Seata] attempts to suggest something both improvised and deeply felt… You might say that the underlying theme is movement… stated in terms of line.’ (Rafael Perez-Madero, ZOBEL/ LA SERIE BLANCA, Ediciones Rayuela, Madrid, 1978, p. 85) 

The allure of Spanish-Filipino artist Fernando Zobel de Ayala y Montojo’s works lies in their ineffable elegance and gestural grace. Active during throughout the reigning era of the lyrical abstract movement in Europe, Zobel mounted exhibitions in the Philippines, Spain, and America, gaining international acclaim as one of the most revered abstractionists of his time.

The present lot hails from Zobel’s early Saeta series, which marked an important breakthrough in his prolific career. Zobel embarked on this pivotal series in 1955 following his visit to a Mark Rothko’s exhibition at the Rhode Island School of Design. Saeta shares an affinity with the spiritual and contemplative nature of Chinese and Japanese calligraphy, an art form that Zobel was fascinated by and took classes in.

Zobel used a surgical syringe to achieve calligraphic lines of the utmost precision, a technique which became the hallmark of his Saeta series. In Sin Titulo white, red, and silver lines come together to form a labyrinth against a silver surface, teasing the senses to establish a relationship with the entangled mass upon the canvas.

Zobel’s approach to painting, aligns with the philosophies of his contemporary Georges Matthieu (Lot xxx), as the primacy of speed of execution is key. Both Zobel and Matthieu’s oeuvres reflect their daring experimentation as they sought to eschew the brush and apply pigment directly, and more instinctively onto the canvas. Embodying the emotive power of gestural abstract, Zobel’s Sin Titulo is a testament to abstract painting’s ability to transcend language or geographic locales to reach a universal audience.