Francisco Bores Lopez Paintings & Artwork for Sale | Francisco Bores Lopez Art Value Price Guide

Nov. 02, 2024
ABSTRACT WATERCOLOR PAINTING BY FRANCISCO BORES
Est: $100 - $150
Watercolor on paper painting by Francisco Bores Lopez, 1898 to 1972, a Spanish artist based in Paris, where came in close contact with Pablo Picasso and Juan Gris. The artwork represents a Surrealist composition, white nude female figures in nocturnal blue landscape scenery. Signed by the artist and dated 1968 in the lower right. Titled Naked. White mat, wooden frame. Collectible Mid Century Modernist Graphic Art.
Antique Arena Inc
Oct. 15, 2024
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nudes", 1942. Oil on canvas. Signed and dated in the lower right area.
Est: €5,000 - €6,000
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nudes", 1942. Oil on canvas. Signed and dated in the lower right area. Measurements: 27 x 35 cm; 46 x 55 cm (frame). With label at the Alfred Poyet Gallery, Paris. With great versatility, Francisco Borés moved freely through expressionism and cubism. We are here before the representation of female bodies resolved with an impetuous pulse, of thick stroke, with primitivist and Picasso echoes and that, at the same time, establishes winks with the German Die Brücke movement. The color tile, along with a contrasting range of orange and sienna tones, dominate the palette. Borés also dialogues with a whole genealogy of odalisques, from Goya to Manet. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he had his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group exhibition at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions in prominent galleries in Paris and London, among them Georges Petit and Zwemmer. After the Second World War he resumes his exhibition activity, and in 1947 the French State acquires, for the first time, a work by Borés. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Theo Gallery in Madrid, which meant his approach to the Spanish public, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Theo Gallery, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés' production: renewed classicism (1923-25), neo cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Oct. 15, 2024
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area.
Est: €7,000 - €8,000
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area. Measurements: 27 x 35 cm; 49 x 57 cm (frame). With great versatility, Francisco Borés moved freely through expressionism and cubism. We are here before the representation of a feminine body resolved with an impetuous pulse, of thick stroke, with primitivist and Picasso's echoes and that, at the same time, establishes winks with the German Die Brücke movement. The color tile, along with a contrasting range of orange and sienna tones, dominate the palette. Borés also dialogues with a whole genealogy of odalisques, from Goya to Manet. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he had his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group exhibition at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions in prominent galleries in Paris and London, among them Georges Petit and Zwemmer. After the Second World War he resumes his exhibition activity, and in 1947 the French State acquires, for the first time, a work by Borés. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Theo Gallery in Madrid, which meant his approach to the Spanish public, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Theo Gallery, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés' production: renewed classicism (1923-25), neo cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Jul. 18, 2024
Francisco Bores Lopez ''Cubist Still Life'' 1948 Oil
Est: $2,000 - $4,000
Francisco Bores Lopez (1898-1972 Spanish) ''Cubist Still Life'' 1948 Oil on Canvas Laid to Board 23.5''x31.5'' Image. Signed and dated l.r. Original wood framing 32''x40''. Boris Mirski Art Gallery, Boston label on verso. A few small scattered scratches and paint flakes. Overall excellent, original condition.
MBA Seattle Auction LLC
Jun. 25, 2024
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area.
Est: €7,000 - €8,000
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area. Measurements: 27 x 35 cm; 49 x 57 cm (frame). With great versatility, Francisco Borés moved freely through expressionism and cubism. We are here before the representation of a feminine body resolved with an impetuous pulse, of thick stroke, with primitivist and Picasso's echoes and that, at the same time, establishes winks with the German Die Brücke movement. The color tile, along with a contrasting range of orange and sienna tones, dominate the palette. Borés also dialogues with a whole genealogy of odalisques, from Goya to Manet. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he had his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group exhibition at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions in prominent galleries in Paris and London, among them Georges Petit and Zwemmer. After the Second World War he resumes his exhibition activity, and in 1947 the French State acquires, for the first time, a work by Borés. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Theo Gallery in Madrid, which meant his approach to the Spanish public, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Theo Gallery, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés' production: renewed classicism (1923-25), neo cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Apr. 11, 2024
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). Untitled, 1957. Watercolor on paper. Signed and dated in the lower right corner.
Est: €700 - €900
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). Untitled, 1957. Watercolor on paper. Signed and dated in the lower right corner. Measurements: 32 x 24 cm; 40 x 32 cm (frame). Francisco Borés was formed in the academy of painting of Cecilio Pla, where he knew Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he had his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group exhibition at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions in prominent galleries in Paris and London, among them Georges Petit and Zwemmer. After the Second World War he resumes his exhibition activity, and in 1947 the French State acquires, for the first time, a work by Borés. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Theo Gallery in Madrid, which meant his approach to the Spanish public, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Theo Gallery, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés' production: renewed classicism (1923-25), neo cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Mar. 18, 2024
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). Untitled, 1928. Oil on canvas. Work reproduced in the artist's catalog raisonné. Certificate of authenticity issued by Hélenè Bores can be issued at the buyer's expense.
Est: €2,000 - €3,000
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). Untitled, 1928. Oil on canvas. Work reproduced in the artist's catalog raisonné. Certificate of authenticity issued by Hélenè Bores can be issued at the buyer's expense. It has an informative label on the back of the Musee National d'Art Moderne. Measurements: 22 x 28 cm; 38 x 43 cm (frame). Exhibitions: Collection André Lefèvre, Paris, musée national d'Art moderne. 1964, cat. no. 72 p. 22 not repr. (with the title Les Cartes - The Letters). - London, Crane Kalman Gallery, 1963, cat. no. 1 p. 3 not repr. 3 not repr. (with the title jeu de cartes - Card game). Provenance: Collection André Lefèvre, Paris¸ Paris, palais Galliéra, Mes Ader; Ribault-Menetière, Collection André Lefevre, 1965, Kalman Gallery, London and private collection Madrid. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he had his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group exhibition at the Museum of Modern Art in New York. During the following years he continues to hold solo exhibitions in prominent galleries in Paris and London, among which Georges Petit and Zwemmer galleries stand out. After the Second World War he resumes his exhibition activity, and in 1947 the French State acquires, for the first time, a work by Borés. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Theo Gallery in Madrid, which meant his approach to the Spanish public, which was practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Theo Gallery, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés' production: renewed classicism (1923-25), neo cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Dec. 28, 2022
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 – Paris, 1972). "Domestic Animals", 1952. Oil on canvas. Work reproduced in the catalog raisonné Volume II. Francisco Bores, painting 1945-1972, page 232.
Est: €5,000 - €6,000
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Domestic Animals", 1952. Oil on canvas. Work reproduced in the catalogue raisonné Volume II. Francisco Bores, painting 1945-1972, p. 232. With informative labels on the back (Laine Lana Gallery, Biosca Gallery and Louis Carré Gallery). Signed and dated in the lower right-hand corner. Provenance: Louis Carré Gallery (Paris). Size: 38.5 x 46 cm; 61 x 69 cm (frame). A year before this work was made, Borés joined the group of artists of the Louis Carré Gallery in Paris. In the image Borés offers us a scene made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, constructed by means of broad brushstrokes with energetic strokes. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of all artifice or anecdotal detail. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Oct. 11, 2022
FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Nature morte au citron", 1969. Gouache on paper. It presents a label on the back of origin: Ignacio Lassaletta Gallery. Signed and dated in the lower right corner.
Est: €3,000 - €4,000
FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). "Nature morte au citron", 1969. Gouache on paper. With label on the back of provenance: Galería Ignacio Lassaletta. Signed and dated in the lower right corner. Measurements: 49,5 x 59,5 cm; 81 x 98 cm (frame). In 1969 Bores was already a consolidated artist, with an established and mature artistic career. However, the political circumstances in Spain meant that his work was unknown, except in the professional artistic circles of the country. In 1969, the Galería Theo in Madrid held an exhibition dedicated to the painter, thus bringing him closer to the Spanish public. In this work Bores offers us an interior scene made up of a synthetic aesthetic in its forms, with large planes of colour that seem to start from abstraction to become a concrete object, a circle becomes a plate, a rhomboid shape becomes a lemon and some simple lines are the stems of some flowers, in such a way that Borés proposes an intellectual exercise to the spectator's gaze. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of any artifice or anecdotal detail. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 his paintings were bought by the Museum of Modern Art in New York. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in leading museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Sep. 08, 2022
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte au compotier", 1951. Oil on canvas. Signed in the lower right corner. Provenance: Work acquired at the Art Curial gallery in Paris in June 1982.
Est: €8,000 - €10,000
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte au compotier", 1951. Oil on canvas. Signed in the lower right corner. Provenance: Work acquired at the Art Curial gallery in Paris in June 1982. Work published in "Francisco Borés. Catalogue Raisonné. Pintura, Tomo II, 1945-1972", Hélène Dechanet, MNCARS and Fundación Telefónica, Madrid, 2003. Work exhibited in "Bores, Retrospective 1923-1972". Peintures, gouaches, dessins" 1982, Artcurial Paris, pg 28. Size: 59 x 71 cm; 63 x 76 cm (frame). This painting belongs to an extremely fertile creative period for Bores. Even though he was already an internationally recognised artist in the fifties, his work, far from stagnating, continued to expand the limits between figuration and abstraction. Here we see a return to the object through the still life but without renouncing the two-dimensionality, the intellectual synthesis and the force of colour applied in planes that defined his painting. Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended the Julio Moisés Free Academy, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists. He travelled to Paris, where he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London. In 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries. In 1969 he exhibited at the Galería Theo in Madrid. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. Francisco Bores is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, the Museo de Arte Reina Sofía in Madrid, the National Museum of Fine Arts in Madrid and the National Gallery of Madrid.
Setdart Auction House
May. 11, 2022
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "The piano", 1929. Watercolor on paper.
Est: €7,000 - €8,000
FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "The Piano", 1929. Watercolour on paper. Size: 31 x 24 cm; 47 x 40 cm (frame). Attached certificate of Carmen Borés on the back, the piece is not signed. Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 his paintings were bought by the Museum of Modern Art in New York. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in leading museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
Setdart Auction House
Apr. 05, 2022
FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Grove". Oil on cardboard. Work consulted to Doña Helena Bores. Provenance: Family of the artist (Provenance document attached).
Est: €600 - €700
FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Grove". Oil on cardboard. Work consulted to Doña Helena Bores. Provenance: Family of the artist (Provenance document attached). Measures: 25 x 40 cm; 50 x 67 cm (frame).
Setdart Auction House
Apr. 05, 2022
FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Landscape with mountains". Watercolor on cardboard. Work consulted to Doña Helena Bores. Provenance: Family of the artist (Provenance document attached).
Est: €300 - €350
FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Landscape with mountains". Watercolor on cardboard. Work consulted to Doña Helena Bores. Provenance: Family of the artist (Provenance document attached). Measures: 30 x 42 cm; 57 x 68 cm (frame).
Setdart Auction House
Jan. 25, 2022
FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). - "Femme au citron", 1947.
Est: €3,000 - €4,000
FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). "Femme au citron", 1947. Gouache on paper. Signed and dated in the lower right corner. Preserves the Sala Dalmau label. It has a small tear on the left side. Measurements: 49 x 65.5 cm; 52 x 68.5 cm (frame). In spite of the evident avant-garde language of this work, Bores offers us an image that comes from the pictorial tradition. Both in the subject matter and in the composition of the scene. In the case of the theme, the author resorts to the classic still life structured around a table. The figure of a woman in profile can be seen in the right-hand corner, with her face turned towards the viewer. With regard to the above-mentioned composition, it is worth noting the frontalism with which the artist configures the scene, as well as the fact that the woman seems to be sticking out one of her legs through a frame delimited by the artist's painting. A device that creates a trompe l'oeil, typical of Baroque aesthetics. A contemporary Spanish painter belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. During these years, and through his friendship with Picasso, he began his relationship with the art critic Tériade, who devoted an extensive article to him in "Cahiers d'Art". It was at this point that his artistic career began to take off. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. Around this time he also contributed to avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London, where he held a solo exhibition. His work is influenced by Picasso's Cubism and, on occasions, by Surrealism and abstraction. Francisco Bores became a master in the use of colour, the application of which sometimes follows abstract criteria, to such an extent that it replaces drawing or line in defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language towards experimentation with colour, which led him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organised in pursuit of a synthesis analogous to the impression produced by a single visual instant". After the Second World War Bores resumed his exhibition activity, and in 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries.
Setdart Auction House
Dec. 14, 2021
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte et bleu composition/ composition in blue", 1960. Oil on canvas.
Est: €30,000 - €35,000
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte et bleu composition/ composition in blue", 1960. Oil on canvas. Work reproduced in the Catalogue Raisonné, Volume II, 1945-1972, p. 408. Provenance: Simon Collection (USA), bought directly from the artist. Signed and dated in the lower right corner. Measurements: 81 x 100 cm; 107 x 126 cm (frame). Lyricism and color are the undisputed protagonists of this piece, in which blue dominates the entire composition, creating the forms of this synthetic still life, through tonal gradations. The subtlety of the blues, added to the elements of fluid and clear geometries, show us the characteristic style of the painter's last stage, which was called "the white manner". The white manner includes works after 1955, which the artist himself contextualized as follows: "I continued to aspire to greater luminosity, disembodying the figures more and more at the same time. An attempt, in a certain way, to approach what the abstractionists aspired to by purely figurative means and, above all, to achieve something different from all those schools or movements, to achieve a special transparency. I wondered inwardly where such experiences would lead me... I think I know now: for the last two years I have returned to my first attempt to achieve a plastic synthesis of the true. My painting, which was once dark, is today clear". A contemporary Spanish painter, belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim Gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant".
Setdart Auction House
Oct. 07, 2021
Francisco Bores, Watercolor on Paper
Est: $300 - $500
Francisco Bores Lopez (1898 - 1972), watercolor on paper. Signed and dated lower right 1956. Untitled. Sight seen approx. 17" x 11", overall frame size approx. 26" x 20".
Weiss Auctions
Jul. 27, 2021
FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). "L' Arbre", 1966. Oil on canvas.
Est: €7,000 - €9,000
FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). "L' Arbre", 1966. Oil on canvas. Signed in the lower right corner and titled on the back. Work reproduced in the catalog raisonné of the artist Volume II No. 511. Size: 60 x 51 cm; 83 x 72 cm (frame). Contemporary Spanish painter, belonging to the so-called New School of Paris, Francisco Bores was formed in the painting academy of Cecilio Pla, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participated for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art prompted him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he began his relationship with the art critic Tériade, who dedicated an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participated in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim Gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was hired by the Zwemmer Gallery in London, where he held a solo exhibition. His work was influenced by Picasso's cubism and, at times, by surrealism and abstraction. After World War II Bores resumed his exhibition activity, and in 1947 the French state acquired, for the first time, a work by Bores. In 1949 it was the Museum of Modern Art in New York that bought his paintings. In the fifties he continued to exhibit his works in many European galleries. From those years on, Bores no longer chose a single poetic, lyrical and abstract register to express his interpretation of reality, but alternated different visions of objects, which he defined with the strength of color and two-dimensionality. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work, except in professional circles where, on the other hand, it was highly appreciated. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant". Francisco Bores is represented in the most important museums around the world, including the Georges Pompidou Center in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gotemborg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh.
Setdart Auction House
Jun. 17, 2021
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte et bleu composition / composition en azul", 1960. Oil on canvas. Provenance: Simon Collection (USA), purchased directly from the artist. Signed and dated in the lower right corner.
Est: €45,000 - €50,000
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte et bleu composition / composition en azul", 1960. Oil on canvas. Work reproduced in the Reasoned Catalog, Volume II,1945-1972, p. 408. Provenance: Simon Collection (USA), purchased directly from the artist. Signed and dated in the lower right corner. Measures: 81 x 100 cm; 107 x 126 cm (frame). Lyricism and color are the undisputed protagonists of this piece, in which blue dominates the entire composition, creating the forms of this synthetic still life, through tonal gradations. The subtlety of the blues, added to the elements of fluid and clear geometries, show us the characteristic style of the painter's last stage, which was called "the white manner". The white manner includes works after 1955, which the artist himself contextualized as follows: "I continued to aspire to greater luminosity, disembodying the figures more and more at the same time. An attempt, in a certain way, to approach what the abstractionists aspired to by purely figurative means and, above all, to achieve something different from all those schools or movements, to achieve a special transparency. I wondered inwardly where such experiences would lead me... I think I know now: for the last two years I have returned to my first attempt at a plastic synthesis of the true. My painting, which was once dark, is today clear". A contemporary Spanish painter, belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim Gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant".
Setdart Auction House
Apr. 15, 2021
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Bouquet devant le ciel", 1961. Oil on canvas. Signed and dated in the lower right corner. Titled on the back. Certificate of authenticity attached.
Est: €15,000 - €18,000
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Bouquet devant le ciel", 1961. Oil on canvas. Signed and dated in the lower right corner. Titled on the back. Certificate of authenticity attached. Measures: 73 x 60 cm; 95,5 x 82 cm (frame). Work reproduced in: "Catalogue Raisonné de Francisco Borés. Volume II - Peinture 1945-1972", p. 437 (Madrid: MNCARS, 2003). In this work, Bores offers us a synthetic image in its forms and, at the same time, of great expressive intensity, built through broad brushstrokes, perfectly visible, that speak to us of the painter's energy, of the will transferred to the canvas and translated into color, form and light. The composition is sober, perfectly ordered and clear, with the main motif in the center, in the foreground, highlighted by the red touches that, brushed on white, stand out for their intensity, in contrast with the more neutral and nuanced tones that predominate in the background. A contemporary Spanish painter belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier Gallery. During these years, and through his friendship with Picasso, he begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim Gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant". After the Second World War Bores resumed his exhibition activity, and in 1947 the French State acquired, for the first time, a work by Bores. In 1949 it was the Museum of Modern Art in New York that bought his paintings. In the fifties he continued to exhibit his works in many European galleries. From those years on, Bores no longer chooses a single poetic, lyrical and abstract register to express his interpretation of reality, but alternates different visions of objects, which he defines with the strength of color.
Setdart Auction House
Oct. 07, 2018
FRANCISCO BORES LOPEZ (Spanish/French 1898-1972) A PAINTING, "Assiette et Couteau,"
Est: $1,000 - $2,000
FRANCISCO BORES LOPEZ (Spanish/French 1898-1972) A PAINTING, "Assiette et Couteau," oil on canvas, signed L/R, and dated 1952, verso a paper label with date, title, and artist, reads, "Gallerie Louis Carre & Co., Paris." 15" x 18"
Simpson Galleries, LLC
Jun. 06, 2018
Francisco Bores Lopez Spanish, 1898-1972 Still Life with Cup, 1956
Est: $3,000 - $5,000
Francisco Bores Lopez Spanish, 1898-1972 Still Life with Cup, 1956 Signed Lopez and dated 56 (lc) Oil on canvas 32 x 39 1/2 inches Provenance: Columbus Gallery of Fine Arts, Columbus, OH C
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ABSTRACT WATERCOLOR PAINTING BY FRANCISCO BORES

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nudes", 1942. Oil on canvas. Signed and dated in the lower right area.

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area.

Francisco Bores Lopez ''Cubist Still Life'' 1948 Oil

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "Female nude", 1944. Oil on canvas. Signed and dated in the lower right area.

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). Untitled, 1957. Watercolor on paper. Signed and dated in the lower right corner.

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). Untitled, 1928. Oil on canvas. Work reproduced in the artist's catalog raisonné. Certificate of authenticity issued by Hélenè Bores can be issued at the buyer's expense.

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 – Paris, 1972). "Domestic Animals", 1952. Oil on canvas. Work reproduced in the catalog raisonné Volume II. Francisco Bores, painting 1945-1972, page 232.

FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Nature morte au citron", 1969. Gouache on paper. It presents a label on the back of origin: Ignacio Lassaletta Gallery. Signed and dated in the lower right corner.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte au compotier", 1951. Oil on canvas. Signed in the lower right corner. Provenance: Work acquired at the Art Curial gallery in Paris in June 1982.

FRANCISCO BORÉS LÓPEZ (Madrid, 1898 - Paris, 1972). "The piano", 1929. Watercolor on paper.

FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Grove". Oil on cardboard. Work consulted to Doña Helena Bores. Provenance: Family of the artist (Provenance document attached).

FRANCISCO BORES LÓPEZ (Madrid, 1898 – Paris, 1972). "Landscape with mountains". Watercolor on cardboard. Work consulted to Doña Helena Bores. Provenance: Family of the artist (Provenance document attached).

FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). - "Femme au citron", 1947.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte et bleu composition/ composition in blue", 1960. Oil on canvas.

Francisco Bores, Watercolor on Paper

FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972). "L' Arbre", 1966. Oil on canvas.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Nature morte et bleu composition / composition en azul", 1960. Oil on canvas. Provenance: Simon Collection (USA), purchased directly from the artist. Signed and dated in the lower right corner.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972). "Bouquet devant le ciel", 1961. Oil on canvas. Signed and dated in the lower right corner. Titled on the back. Certificate of authenticity attached.

FRANCISCO BORES LOPEZ (Spanish/French 1898-1972) A PAINTING, "Assiette et Couteau,"

Francisco Bores Lopez Spanish, 1898-1972 Still Life with Cup, 1956

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