Menu

Laberinto Gris

New comic art (3 days)

Available art


all
recently listed
6h 12h 1d 3d 1w 1m
source photo description price status last
checked
ESPUMA SIN HORIZONTE
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 30 x 40 cm (11.81 x 15.74 in) a format of 50 x 70 cm (19.68 x 27.55 in)
Year of realization 2008
Signed at the bottom right side of the piece.
Illustration published inside the book Dead Moon, page 56. Published in several languages and distribuited internationally.
  
"The horizon was before him, the sea at his feet, finally hid the moon and the sun the red and vital sneaked out. Suzong approached the prince with his battle garb.
- We will not leave today.
- Lord, the Highlanders will re-group, it's time to finish them now that we have them humiliated.
- Relax ... Do you see the sea? Do you like music, Suzong?
- There is music at feasts, we sing songs of war during marches ... "
Dead Moon




Log in to view pricesavailable18h 44mn ago
COVER CIMOC
Luis Royo
PAINTING
Watercolor, airbrush painted on cardboard paper.
Painted surface 29.5 x 44.5 cm (11.61 x 17.51 in) in a format of 36.5 x 51 cm ( 14.37 x 20.07 in) 
Year of realization 1983.
Signed on the right hand side of the piece. 
Cover of the Lanciostory nº43 magazine. 
Also published on the cover of the magazine Cimoc nº31 ( Spain )
 
"If the steel is sharp, cut the air. If the wings make it fly, it flies with the signes.If the featheres 
caress, it makes wounds.If the fire blurs, let it draw the horizon.If the eye catches the light, expel her..."

Luis Royo

Log in to view pricesavailable18h 44mn ago
CRASH FORCE
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 48 x 36 cm (18.89 x 14.17 in) on a format of 64 x 51 cm (25.19 x 20.07 in)
Year of realization 1988
Signed on the middle-right of the piece.
Cover of the video tape "Crash Force" by Film - Entertaiment  VON VPS VIDEO (Germany).
Published inside of the author´s book Women, page 76, edited in different languages and distribuited internationally.
 
"Commissar Vinni and his Crash Force from homicide department are powerless against the brutal crime syndicate that will stop at nothing. The madman spread fear and terror among the population."

Log in to view pricesavailable18h 44mn ago
METAL SOUNDS
Luis Royo
COLOR DRAWING
Acrylic and oil on tracing paper.
Painted surface 25 x 35 cm (9.84 x 13.77 in) in a format of 38 x 48 cm (14.96 x 18.89 in)
Year of realization 2013
Signed on the bottom right of the piece.
Published on the inside of the author's book Malefic Time, 110 Katanas, page 26. Edited in diferent languages and distributed internationally.
 
"Luz leaves the look lost. Some of those words remind him again of his teacher. He is missing him again. Note its absence, its distance. He refuses to admit that he is still in pain, that despite the meeting in New York, he has not yet forgiven him."
Malefic Time, 110 Katanas

Log in to view pricesavailable18h 44mn ago
SAGA MARY BROWN
Luis Royo
PRELIMINARY
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 14 x 22 cm. ( 5.51 x 8.66 in. ) in a format of 18 x 28 cm. ( 7.08 x 11.02 in. )
Year of realization 1999.
Signed on the bottom right of the piece.
Preliminary to the cover of the novel The Unexpected Dragon by the writer Mary Brown, edited by Dawn Books (USA)
Finish the cover was published on the inside of the author's book Evolution, page 48. Edited in different languages and distributed internationally.

 
The legend of Arthur is brilliantly retold through the four "hallows," or sacred objects of Britain. This omnibus edition collects all four books in the series: The Book of the Sword, The Book of the Spear, The Book of the Cauldron, and The Book of the Stone.
Diana L. Paxson

Log in to view pricesavailable18h 44mn ago
MOON SOLDIER 6
Luis Royo
COLOR DRAWING
Graphite and oil on tracing paper.
Painted surface 38 x 48 cm (14.96 x 18.89 in) in  a format of 24,8 x 34,8 (9.76 x 13.70 in).
Year of realization 2013
Published in the interior pages of the author's book Malefic Time, 110 Katanas, page 81. Edited in diferent languages and distributed internationally.
 
"There are strange signs for its walls, symbolic traces on its floor and hanging fabric with emblems. In their advance they find a trail of blood. They look in front: on a dark passage stand out some Celtic symbols mixed with Chinese kanjis on the facade of a building. That combination of symbols is not normal."
Malefic Time, 110 katanas

Log in to view pricesavailable18h 44mn ago
HONEY FROM AVALON
Luis Royo
PAINTING
Acrylic with airbrush and oil on handmade paper.
Size 77 x 107 cm (30.31 x 42.12 in)
Year of realization 2003
Signed on the bottom-right of the piece.
Published in the book Prohibited III, page 25 and later in Prohibited (New remastered edition), page 115. Both of them, edited in diferent languages.
  
"Under the words, when we go up the paper and get lost in the blank page, or when a fuzzy cloud puts us in front of the eyes, many times, leading us to forbidden places."
Luis Royo

Log in to view pricesavailable18h 44mn ago
THE PURPLE EMPEROR
Luis Royo
PAINTING
Watercolor, Acrylic with airbrush and oil on paper.
Painted surface 48 x 34 cm ( 18.89 x 13.38 in) in a format of 59 x 45 cm. ( 23.22 x 17.71 in. )
Year of realization 2004
Signed on bottom right of the piece.
Cover of the novel The Purple Emperor by the writer Herbie Bennan and published in USA by Paperback Editorial.
 
"Having been stripped of their powers and banished to distant lands, Pyrgus and his sister, Blue, must find a way to get back to their kingdom in order to reclaim his rightful throne and put an end to the evil doings of the resurrected Purple Emperor."

Log in to view pricesavailable18h 44mn ago
EL PAIS DE LAS HADAS
Luis Royo
COLOR DRAWING
Watercolor, Acrylic with airbrush and oil on paper.
Painted surface 43.5 x 27.5 cm (17.12 x 10.82 in) in a format of 63.5 x 40.5 cm. ( 25 x 15.94 in. )
Year of realization 2009
Signed in the bottom-right of the piece.
Published in the interior pages of the author's book, Malefic New Remastered , page 82-83.
 
"Merlin came to Avalon to extract the magic that enclosed its flowers, and the wind also came to entangle itself in the branches of its trees and turn them into fairies."

Log in to view pricesavailable18h 44mn ago
TO THE KING A DAUGHTER
Luis Royo
PRELIMINARY
Acrylic with airbrush and oil on paper.
Painted surface 12 x 18 cm ( 4.72 x 7.08 in. ) in a format of 21 x 29.5 cm ( 8.26 x 11.61 in. )
Year of realization 1999.
Signed on the bottom right of the piece.
Preliminary work custom made for the novel's front To the King a Daughter by writer Andre Norton and Sasha Miller. Edited in USA by Tor Book Editorial.
Published inside the author's book Evolution, page 45. Edited in different languages and distributed internationaly.
  
The statue is big. It looks like a toad, but without the width neck. It is made with grey and brownish stone, and it rests under its powerful hindquarters, supported by a bed of green reeds. Its front rests more or less under its big bulbous gut, as the hands of a pregnant woman would do on her belly. On the top of the head, protrude a pair of 2 big bright yellow eyes with red pupils, that seems to be made of some polished gem, but not carved. Under its front legs, it has got the belly marked with some kind of writting carved on the stone. the marks are on its majority dots and lines.
Evolution

Log in to view pricesavailable18h 44mn ago
MIEL DE SOMBRAS
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper
Painted surface 42 x 64 cm (16.53 x 25.19 in) a format of 50 x 72 cm (19.68 x 28.34 in)
Year of realization 1994
Signed on the bottom-right of the piece.
Work made for the author's book "Secrets", page 75. Edited in diferent languages and distributed internationally.
We present this magnificent original painting by Luis Royo of one of his most famous works. This painting appeared for the first time in his author's book Secrets in the November 1995 edition, published on page 75. And in his book Fantastic Art compilation, page 80-81. Both edited in several languages ​​and distributed internationally. It is one of the most published works of Royo, also appeared in calendars, trading card, posters, and all kinds of impressions.
It is one of the emblematic pieces of Luis Royo, one of his most famous and desirable paintings, and an ideal representation of his work both in terms of theme and style, as it shows the polished and finely detailed realism that Royo is so appreciated We have here a modern masterpiece with which is the artist who can claim the definition of the fantasy-erotic-apocalyptic genre.
Luis Royo is perhaps the most highly regarded pinup/fantasy artist of the past twenty years. He is world renowned as the master of this genre, and he is the single most published cover artist in the history of Heavy Metal magazine. Royo, more than any other artist, is credited with defining the look of Heavy Metal magazine, and influencing the world of modern fantasy and pinup art. Royo's artwork has graced the covers of hundreds of magazines and books, and his work has been collected in a best-selling series of books devoted to his work. He is a rarity in the world of illustration art in that his popularity is literally worldwide. It is especially noteworthy that his original paintings are virtually nonexistent in the marketplace. Royo's most desirable work, his famous signature pieces, are those of strong women, presented in this unique style, where the worlds of science fiction, fantasy and pinup collide. The fact that the emphasis of Royo's marketing lies in the publishing (calendars, books, prints, etc.) and licensing of his work, rather than the selling of his originals (and the fact that he does not accept commissions from collectors), plays a great role in the virtual absence of his material in the marketplace. This is a major museum-quality work by Luis Royo, the legendary master of fantasy art.
- Robert Edward Auctions
 
"A timeout that draws the scene in the brain step by step, as a wheel on the ground every piece of metal that turns a fierce warrior in a female body, able to seduce even the beasts".

Log in to view pricesavailable18h 44mn ago
HAWK AND FISHER IV
Luis Royo
PAINTING
Ink, acrylic using airbrush and oil on paper.
Painted surface 29 x 47 cm (11.41 x 18.50 in) in a format of 47 x 62 cm (18.50 x 24.40 in)
Year of realization 1991
Signed on the bottom-right of the piece.
Work made for the cover of the novel "Hawk and Fisher" writer Simon R. Greem published in USA by publisher Berkley Books.
Published in the interior of the book Women, page 26. Edited in diferent languages and distributed internationally.
  
"As the values become more relative and depend more clearly of the offer and demand, as our relations are further stipulated by increasing existing laws, as our goals become more practical and inconsequential and our everyday life, the spell of ancient times acquires a greater presence in our minds "

Log in to view pricesavailable18h 44mn ago
VAMPI WITHOUT RELLA
Luis Royo
PAINTING
Acrylic using airbrush and oil on paper.
Painted surface 26 x 46 cm (10.23 x 18.11 in) in a format of 40.5 x 61 cm (15.94 x 24.01 in)
Year of realization 2002
Signed on the bottom right of the piece.
Work made for the author's book Prohibited III, published on page 15. Also published in New Remastered Edition, page 105. Edited in different languages and distributed internationally.

 
"The air were flowing through the holes in the broken glass, whistling a electric tune that adorned and increased the tension of the moment. There, in the corner, the big shadow of that monstrous and misshapen being was forming stalking that delicate little body that was approaching moving her bones"
Luis Royo

Log in to view pricesavailable18h 44mn ago
RHAPSODY V
Luis Royo
PAINTING
Acrylic with airbrush and oil on paper.
Painted surface 54.8 x 35.8 cm ( 21.57 x 14.09 in. ) in a format of 68 x 49 cm. ( 26.77 x 19.29 in. )
Year of realization 2002.
Signed on the bottom right of the piece.
Cover of the novel Elegy for a Lost Star by the writer Elizabeth Haydon, edited by Tor Books (USA)
Published on the inside of the author's book Fantastic Art, pages 40 - 41. Edited in different languages and distributed internationally.
 
Elegy for a Lost Star sets the stage for a major turning point in the Symphony of Ages series. The dragon Anwyn--who has lain for three years in deathlike sleep in a grave of rock and black coal is freed by the cataclysm that concluded Requiem for the Sun. Disoriented and confused, she remembers only two things: the person who trapped her in dragon form and locked her in a rocky grave--Rhapsody; and an all-encompassing desire to wreak vengeance. Meanwhile, Achmed, the Firbolg king, resumes rebuilding the his shattered home, while a guild of merciless assassins set about taking revenge on him for the killing of their leader. A horribly deformed but magical being finds its way through a carnival of freaks to the palace of an evil despot, who sees in it the potential to be the instrument by which his plans of conquest and brutal domination of a continent will be realized. With the rise of new leaders, good and evil, the long-awaited birth of the Child of Time, the dark plans of assassins and rulers, a confrontation that shakes the relationship of the Three, and a battle to the death between two dragons of unimaginable elemental power, the seeds of chaos are planted for a war that will, by its end, consume half of the world.
Elegy for a Lost Star
 
The legends carry inside fairies and dragons, unicorns and moonlight, rides and impossible love, haunted maidens and melancholic warriors. The legends have inside a pair of wings or at least the possibility of flight.
Fantastic Art

Log in to view pricesavailable18h 44mn ago
THE PATH OF DREAMS
Luis Royo
PAINTING
Watercolor, acrylic using airbrush and oil on paper.
Painted surface 33 x 52 cm (12.99 x 20.47 in) in a format of 48 x 67 cm (18.89 x 26.37 in)
Year of realization 1994
Signed on the bottom-right of the piece.
Illustration made for the book Secrets, published on page 19. Edited in several languages.
 
"In Avalon, the inner realm of the thick boughs and shady forests. In the fairyland that absorbs the vitality of the Sun to spread it among nature. Lolita, with her strenght defying the laws of gravity. La Bella, which changes the white rose for a sword to tame the beast."
Fantastic Art

Log in to view pricesavailable18h 44mn ago
A CROWN DISOWNED
Luis Royo
PRELIMINARY
Watercolor and acrylic with airbrush on paper.
Painted surface 15.3 x 23 cm. in a format of 25.5 x 36 cm.
Year of realization 2002
One of the versions made for the cover of the novel "A crown Disowned" by the authors Andre Norton & Sasha Miller. Definitive illustration published in the book Visions, page 27.
 
"The crystal of the lake forged a sword, and a king came to pick it up. From that moment, fantasy spread throughout the world and humans began to be divine."
Fantastic Art

Log in to view pricesavailable18h 44mn ago
PILGRIM WAYFARER REDEMPTION
Luis Royo
PAINTING
Oil and airbrush acrylic on paper.
Painted surface is 56.4 x 37.8 cm on a paper of 70 x 50 cm.
Year of realization 2006
Signed on the bottom right of the piece.
Cover of the novel "Pilgrim Wayfarer Redemption" from the writer Sara Douglass and published in (USA) by the editorial Tor Book.
  
"There must be hope left, but no one knows where to find it. Death lurks in every twist of the Maze, but only those who have the courage to endure death can learn the secrets of the ancient enemy."

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS III SERIE
Luis Royo
PRELIMINARY
Graphite on tracing paper.
Painted surface 29 x 35 cm (11.41 x 13.77 in) in a format of 38.5 x 45 cm (15.15 x 17.71 in)
Year of realization 2004
Signed on the bottom-right of the piece.
Published in the book Conceptions III, page 67. Edited in different languages and distributed internationally.

"When other elements are drawn, like an animal, an old and wrinkled body or even a male figure, this millimeter precision is usually less important"
Luis Royo

Log in to view pricesavailable18h 44mn ago
COLOR DRAWING
Luis Royo
COLOR DRAWING
Watercolor, Acrylic with airbrush and oil on paper.
Painted surface 54.5 x 92 cm (21.45 x 36.22 in) in a format of 57 x 100 cm. ( 22.44 x 39.37 in. )
Year of realization 2014
Signed in the bottom-right of the piece.
Unpublished work made for the erothic serie
 
"Under certain conditions, the seeds of illusion germinate. It takes a little moisture and a lot of madness, sun and a good dose of rebellion, a slight breeze from the north and some boredom. Then begins to sprout the fantasy that at first is only tangle, but eventually ends up consolidating in island."
Fantastic Art

Log in to view pricesavailable18h 44mn ago
SERIE SKETCHBOOK
Luis Royo
COLOR DRAWING
Watercolor, Acrylic with airbrush and oil on paper.
Painted surface 25 x 35 cm (9.84 x 13.77 in) in a format of 36.5 x 51 cm. ( 14.37 x 20.07 in. )
Year of realization 2004
Signed in the bottom-right of the piece.
Published on the inside of the author's book, Prohibited Sketch, page 21. Edited in different languages and distributed internationally.
 
"It is an unstable island, visible only in the light of twilight, and that can disappear at any moment, flooded by the tide of despair."
Fantastic Art

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS III SERIE
Luis Royo
STUDY
Graphite on tracing paper.
Painted surface 25 x 29.5 cm (9.84 x 11.61 in) in a format of 36 x 45 cm (14.17 x 17.71 in)
Year of realization 2004
Signed on the bottom left of the piece
Published in the book Conceptions III, page 33. Edited in different languages and distributed internationally.

"The burden of pressure and trial that has had the female figure in past centuries and contemporary culture (both as regards its discriminatory use as the charge of mere object) long ago ceased to have meaning. Its fullness and its role is reflected in the whole of society and is indestructible"

Log in to view pricesavailable18h 44mn ago
SINNER
Luis Royo
PRELIMINARY
Watercolor, acrylic with airbrush on paper.
Format of 36 x 25 cm. ( 14.17 x 9.84 in. )
Year of realization 2005
Preliminar work made for the cover of the novel "Sinner" by the writer Sara Douglass.
 
"Avalon was the seventh island of fantasy, but the first to endure; the only one that, emerged in those remote times, has reached us. In its origin was formed of poisonous plants and vermin. Later, a lady sank in her lake and, with her mane of seaweed, cleaned the poison from the bottom."
Fantastic Art

Log in to view pricesavailable18h 44mn ago
LOSDS OF GRASS AND THUNDER
Luis Royo
PRELIMINARY
Watercolor, Acrylic with airbrush and oil on paper.
Format of 33 x 25 cm. ( 12.99 x 9.84 in. )
Year of realization 2005
Preliminary work made for the cover of the novel "Lords of Grass and Thunder" by the writer Curt Benjamin. The final cover was published in USA by the editorial DAW publicado en USA por la editorial Daw.

"Avalon was the seventh island of fantasy, but the first to endure; the only one that, emerged in those remote times, has reached us."
Fantastic Art

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS III SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface of 15 x 19.3 cm (5.90 x 7.59 in) in a format of 22.5 x 31 cm (8.85 x 12.20 in)
Year of realization 2004
Signed on the bottom right of the piece.
Published in the book Conceptions III, page 24. Edited in different languages and distributed internationally.
 
"The female icons are also endless, Leonardo da Vinci left us the ambiguous beauty of the Mona Lisa. Toulouse-Lautrec recreated himself in the raw image of a women in the night. Andy Warhol represented Marilyn as the ideal dream of masses"

Log in to view pricesavailable18h 44mn ago
DARKWITCH RISING
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 54 x 35 cm ( 21.25 x 13.77 in) in a format of 67 x 48 cm. ( 26.37 x 18.89 in. )
Year of realization 2005
Signed on bottom right of the piece.
Cover of the novel Darkwitch Rising, third title of the captivating serie "Troy Game" by Sara Douglass, published in USA by the Paperback Editorial.

"All of the players are back again, born in medieval London, and with more desire to finish the Troy Game for once and for all. Brutus is reborn as King Charles, Coel as Louis de Silva, Matilda as Queen Catherine, Ecub as Marguerite, Cornelia as Noah Banks, Genvissa as Jane Orr and the hateful Asterion as Weyland Orr."

Log in to view pricesavailable18h 44mn ago
DREAMS 13
Luis Royo
COLOR DRAWING
Oil and acrylic on paper.
Size 23 x 30 cm. ( 9.05 x 11.81 in. )
Year of realization 2009.
Signed on the bottom right of the piece.
Published on the inside of the author's book Malefic Time, Apocalypse, page 108. Edited in different languages and distributed internationally.
 
Many made her questions and expected answers. Others offered answers if the right question was formulated.
Malefic Time, Apocalypse

Log in to view pricesavailable18h 44mn ago
LOS OJOS DEL UNICORNIO 11
Luis Royo
PAINTING
Watercolor, acrylic and oil on paper.
Painted surface 31 x 51.5 cm. ( 12.20 x 20.27 in. ) in a format of 50 x 70 cm. ( 19.68 x 27.55 in. )
Year of realization 2002. 
Signed on the bottom right of the piece.
Published on the inside of the author's book Prohibited III, page 44. Edited in different languages and distributed internationally.
 
Every night I looked for a different scenario for the battle, a place closer and closer to him, where he could contemplate me, where he could better hear my moans, where he could feel the breath on his cold skin while that mountain of grease took me. In the mornings I rewarded him with countless orgasms only for him.
Prohibited III


Log in to view pricesavailable18h 44mn ago
LABYRINTH BLACK 6
Luis Royo
PAINTING
Graphite and oil on tracing paper.
Painted surface 14 x 21.5 cm. (5.51 x 8.46 in) in a format of 22.4 x 31.2 cm. (8.81 x 12.28 in).
Year of realization 2004.
Signed on the bottom right of the piece.
 
Work done for the series of illustrations that completes the booklet of the special edition of the tarot deck "The Labyrinth Tarot", edited by Norma Editorial and Heraclio Fournier.

Log in to view pricesavailable18h 44mn ago
THE LABYRINTH TAROT 2 SERIE
Luis Royo
PAINTING
Graphite and oil on paper.
Painted surface 17 x 29 cm. (6.69 x 11.41 in) in a format of 31 x 39 cm. (12.20 x 15.35 in).
Year of realization 2004.
Signed on the bottom right of the piece.
 
The Tarot is recognized as a pillar of Hermetism. Its symbols are a source that illuminates the path of the mind and leads it. It is not about seeking adepts or detractors, but saying that the tarot is a philosophical tool linked to astrology, kabbalah, alchemy and magic, and therefore has the keys to a first order occult knowledge.

Log in to view pricesavailable18h 44mn ago
MALEFIC 2004
Luis Royo
COLOR DRAWING
Graphite and oil on tracing paper.
Painted surface of 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 45 x 53.3 cm. ( 17.71 x 20.98 in. )
Year of realization 2004.
Signed on the bottom right of the piece.
Published on the inside of the author's book Subversive Beauty, page 20. Edited in different languages and distributed internationally.
 
The sun brought daily flat and insistent vision of reason, it made disappear the uncertain shadows and had the land submerged in monotone linear reality.
Subversive Beauty

Log in to view pricesavailable18h 44mn ago
MALEFIC TIME APOCALYPSE, SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Size 28 x 33 cm (11.02 x 12.99 in)
Year of realization 2010
Signed in the bottom right of the piece.
Graphite of the Malefic Time series, Luz and Baal.

 
"Luz had the soul so far away that her instincts had fallen asleep. Dreams that seem reality and reality that takes the form of dream."
Malefic Time, Apocalypse 

Log in to view pricesavailable18h 44mn ago
MUSARDU - GODDESSES OF NIBIRU
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Measure of 116 x 89 cm. (45.66 x 35.03 in).
Year of realization 2015.
Signed in the bottom right of the piece.
 
This important painting is a clear demonstration within the series, of the different techniques used to achieve delicacy, lightness and an antagonistic transparency at the very moment in time that warns us that something might happen. It is undoubtedly one of the important pieces in the Goddesses series, in terms of both its size and the treatment of the picture.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.
 

Log in to view pricesavailable18h 44mn ago
MALEFIC TIME, CODEX APOCALYPSE
Luis Royo
COLOR DRAWING
Graphite and oil on tracing paper.
Size 35 x 46 cm (13.77 x 18.11 in)
Year of realization 2012
Published in the novel Malefic Time, Codex Apocalypse, page 94.

 
"The last rays of a dying sun filtered through the open gaps in the gigantic silhouette of Columbus Circle Hostel. Their profiles raise to the heavens ochres as a bastion of memory."
Malefic Time, Codex Apocalypse

Log in to view pricesavailable18h 44mn ago
THE FLIGHT OF THE SPELLS 2
Romulo Royo
PAINTING
Emulsion, acrylic with airbrush and oil on paper.
Size of 56 x 38 cm. ( 22.04 x 14.96 in. ).
Year of realization 2010.
Published on the inside of the authors' book Malefic Time, Apocalypse, page 92. Edited in different languages and distributed internationally.
 
Not only that she was enigmatically beautiful. There was something in her solitude, in her anguish, all that seemed to haunt and torture her. At first, the young woman with almost albino mane only seemed like a survivor.
Malefic Time, Apocalypse

Log in to view pricesavailable18h 44mn ago
CAPTAIN POWER 2
Luis Royo
PAINTING
Acrylic using airbrush on paper.
Painted surface 46.5 x 33.5 cm (18.30 x 13.18 in) in a format 58.5 x 45.5 cm (23.03 x 17.91 in)
Year of realization 1988
Signed in the bottom of the piece.
Illustration published in the collection of trading cards "Forbidden Universe: Royo 2" Comic Images.
Published on the inside of the author's book Evolution, page 36. Edited in different languages and distributed internationally.
 
"In the 22nd century after the Metal Wars, a cybernetic revolt that resulted in the subjugation of the human race by intelligent machines. Captain Jonathan Power and a small group of guerrilla fighters, called 'The Soldiers Of The Future' oppose the machine forces that dominate Earth."

Log in to view pricesavailable18h 44mn ago
AGONY RAILS
Romulo Royo
PAINTING
Ink, acrylic and oil on handmade paper.
Size 65 x 50 cm. (25.59 x 19.68 in)
Year of realization 2011
Work published in the inside pages of the book Malefic Time: Apocalypse, page 78-79. Edited in different languages.

"Memories that come and go before his unexpected return, memories that day after day did not get erased from his mind during these years of solitude ..... The plane took land, they gathered their little luggage, the Master grabbed his hand , always protective, always distant, penetrating and powerful look, skin wrinkled and tanned like parchment, fibrous, with thin muscles tense like guitar strings.
Deserted streets, scattered people, suburbs in the subway tunnels, fear in every corner. "" Repent, repent. The end is near "
Malefic Time, Apocalypse

Log in to view pricesavailable18h 44mn ago
FIRE, EARTH, WATER AND AIR II
Romulo Royo
PAINTING
Transfered ink, acrylic and oil on panel.
Size of 35 x 25 cm. ( 13.77 x 9.84 in. )
Year of realization 2000
Signed on the bottom right of the piece.
 
Romulo Royo rediscovers us a delicate and daring figuration which adapts and makes its way between folds and masses of purely abstract composition.
 

Log in to view pricesavailable18h 44mn ago
FLOWERS AND THORNS 4
Romulo Royo
COLOR DRAWING
Graphite and watercolor on handmade paper.
Painted surface 38 x 53 cm. ( 14.96 x 20.86 in. ) in a format of 38.5 x 56 cm. ( 15.15 x 22.04 in. )
Year of realization 2018.
Signed on the bottom right of the piece.
 
This work belongs to the most personal work of the author. They are that type of work that is created without the specific objective of reaching an exhibition or a book. Those pieces that the artist makes to reaffirm an idea, the beginning of a project or find a plastic solution. These are works in which his original motivation is the intimate and private dialogue with the author himself. And before the intention of that work belongs to a plan, we have considered in Laberinto Gris that showing a grouped part of these works would be an attractive challenge for us. A privilege to be the first to show them to the light.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong
 

Log in to view pricesavailable18h 44mn ago
THE NIGHT
Romulo Royo
PAINTING
Transfered ink, acrylic and oil on table.
Size of 35 x 25 cm. ( 13.77 x 9.84 in. )
Year of realization 2000.
Signed on the bottom right of the piece.
 
Rómulo Royo rediscovers us a delicate and daring figuration which adapts and makes its way between folds and masses of purely abstract composition.
 

Log in to view pricesavailable18h 44mn ago
ANTU - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Ink, acrylic and oil on cloth mounted on backligthed methacrylate.
Size 153 x 123 x7 cm. ( 60.23 x 48.42 x 2.75 in. )
Year of realization 2014.
Signed at the back of the piece.
  
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
 
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong
 
In Akkadian mythology, Antu or Antum is a Babylonian goddess. She was the first consort of Anu, and the pair were the parents of the Anunnaki and the Utukki. Antu was a dominant feature of the Babylonian akit festival until as recently as 200 BC, her later pre-eminence possibly attributable to identification with the Greek goddess Hera. Antu was replaced as consort by Ishtar or Inanna, who may also be a daughter of Anu and Antu. She is similar to Anat.
Wikipedia

Log in to view pricesavailable18h 44mn ago
COVER HEAVY METAL
Luis Royo
PAINTING
Acrylic with airbrush and oil on cardboard.
Painted surface 34.5 x 48 cm. ( 13.58 x 18.89 in. ) in a format 35.8 x 49.7 cm. ( 14.09 x 19.56 in. )
Year of realization 1989.
Signed on the bottom right of the piece.
Cover of Heavy Metal magazine, edited in March 1989 (USA)
 
In the future, we are on the other side of electronics, fiber optics, genetic mutation or the black hole. It is already within the impossible. That is why beauty produces chills and fear is beautiful.
Luis Royo
 

Log in to view pricesavailable18h 44mn ago
THE CREATOR HORN
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Size 230 x 185 cm. ( 90.55 x 72.83 in. )
Year of realization 2015
Signed on the bottom right of the piece.
Published inside the authors book Malefic Time, Akelarre, page 57. Edited in different languages and distributed internationaly.
 
This work belongs to the most personal work of the author. This is the type of work it is  created without the specific objective of reaching an exhibition or a book. Those pieces that the artist makes to reaffirm an idea, the beginning of a project or find a plastic solution. These are works in which his original motivation is the intimate and private dialogue with the author himself. And before the intention of that work belongs to a plan, we have considered in Laberinto Gris that showing a grouped part of these works would be an attractive challenge for us. A privilege to be the first to show them to the light.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
“The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation”—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong

Log in to view pricesavailable18h 44mn ago
SIAMESE
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on translucent paper with frame.
Size 100 x 70 cm. ( 39.37 x 27.55 in. )
Measures with frame 118 x 88 cm. ( 46.45 x 34.64 in. )
Year of realization 2008.
Signed in the bottom left of the piece.
Published on the inside of the author's book Siameses, page 28.

Inside the Siameses and Metal-Piel serie, beats a certain eroticism I dare to term “sadomasochistic”. Straps, clamps, leather, these anomalous masks deem pleasure to be within the limits of pain. Although anything strictly sensual or even pornographic lies plainly out of bounds, ultimately what we see is disturbing, as if we were about to open the door onto our darkest desires.
By Fernando Castro Florez. Art critic and member of the Advisory Board, Reina Sofia Contemporary Art Museum.

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena

Traducir texto al inglés

Log in to view pricesavailable18h 44mn ago
METAL PIEL III
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
Size 162 x 130 cm. ( 63.77 x 51.18 in. )
Year of realization 2010.

From the series, Metal-Piel, painted between 2008 and 2009, which has been exhibited at venues such as the National Museum of Contemporary Art Metelkova in Slovenia, Can Framis Museum and Moscow’s 4th Biennale of Contemporary Art.
Cold metal adorns the girl’s angelical face, which is a whirlpool of contradictory emotions, innocence, sensuality and enigma, in which we are used to in many of his works.
Eroticism of the transgressor.

Bataille considers that the dialectic of transgression and prohibition is the condition and even the essence of eroticism. A field of violence, what occurs in eroticism is dissolution or the destruction of the enclosed being: the normal state of a player in the game.
Videncia, Velamiento y Ceguera by Fernando Castro Florez of the Advisory Board, Reina Sofia Museum of Contemporary Art

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena


Traducir texto al inglés

Log in to view pricesavailable18h 44mn ago
SIAMESE VI
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on translucent paper with a frame.
Size 153 x 120 cm. ( 60.23 x 47.24 in. )
Size with frame 171 x 141 x 6 cm.  ( 67.32 x 55.51 x 2.36 in. )
Year of realization 2006.
Published on the inside of the author's book Siameses, page 12.

In this painting like in some pieces, from the serie Siameses various races appear in the same face. Traces of blacks, whites, Asians, are melded together to interpret the many races, cultures and societies; at times these heads are joined to form an egg whose lyrical significance alludes to the planet Earth as an egg in a symbol of birth, a destination marked by an ever more global society where the individuality of different cultures is being lost. There is ambiguity, playing with everyday materials such as leather, shiny objects, light and futuristic aspects whose images recall the most ancient cultures of the African continent.

The force of identity, friction, the danger in the shadows, yet with the need to traverse them, as occurs in much of his work, is exactly where this multiplicity of races unites into a single face, as Royo thought precisely in the traits of Siamese twins which bring together the need to share even though there may be friction between them. And, to conclude, I would say that Ryszard Kapuscinski has already advised us that the Other world be a principal cause of reflection in the 21st century.
Glòria Bosch. Art Director of the Vila Casas Foundation of book On resistance and Siamese… by Romulo Royo

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo
 
Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena




Log in to view pricesavailable18h 44mn ago
SIAMESE IX
Romulo Royo
PAINTING
Mix technique, digital mix and manually painted with oil on canvas.
In a format of 100 x 81 cm. ( 39.37 x 31.88 in. )
Year of realization 2007.
Signed on the bottom right of the piece.
Published on the inside of the aouthor's book Siameses, page 37.
Published on the inside of the author's book Videncia, velamiento, ceguera, page 33.

From the serie Metal-Piel made between 2008 and 2009 they have been exposed on spaces as the Metelkova Museum, Can Framis Museum, La 4ª Bienal de Arte Contemporáneo de Moscú, National Museum of Slovenia, Fran Daurel...

The face and the otherness.
A face is an invaluable part of any portrait, an epiphany which can never be embraced. Variations and small differences evoke a certain repetitive desorption where one discovers the power of simulation, which is, together with the efficiency of displacement, where one’s appearance fades into in the disguise. It may in fact be that a face is nothing more than a backdrop for a scene that does not develop, except in the intermission. It is as if there is a permanent metamorphosis, yet dismantling the face is by no means simple, as Deleuze reminds us, one can easily slip into madness. It is not by chance that the schizophrenic simultaneously loses the sense of his face, both his own and those of others, or the sense of his surroundings, his language and its predominant meanings. “Dismantling one’s face – as he affirms in A Thousand Plateaus – is the same as climbing over the wall of meaning and climbing out of the black hole of subjectivity”. We also know that fantasy governs reality and a mask can never be lifted without taking a bit of flesh along with it. The Other can have the features of an abyss, in the same way that symbolic order is found to be hidden by the fascinating presence of the object of fantasy “We experience it every time we look into the eyes of another person and feel the depth of their gaze”. It is prudent to remember that when the subject gets too close to fantasy, (self)nullification occurs. The art is left as aphanisis. Medusa’s gaze joins together dreams and death definitively. There is no question that the altered face is crucial to the work of Rómulo Royo, who paints as if he aims to evoke the idea, to quote Valery, that what is deepest is in fact the skin.
By Fernando Castro Florez. Art critic and member of the Advisory Board, Reina Sofia Contemporary Art Museum

Very few collections like these we can prepare during the year. Doing it has been an arduous job and a luxury. DARK ROOM is the most hidden provocative and secret of the artists we represent.
Already in 1999, they did their first work in collaboration in PROHIBITED, the collection of erotic-themed books that was an international success that has been reissued over the years. Another of the most recognized collaborations came with the project of the great fresco of the Medvedev in Moscow in 2006, also with an erotic and allegorical theme to the themes of classical art within this genre, picking up this work in his book DOME. That's why Laberinto Gris has considered that this exhibition, approaching both authors the erotic theme, was totally indispensable.
In the debate discussion of preparation to offer you the selection, we expose some of the artists’ words and reasons:
Outside the current rhetoric that invades us at this time (although except for obvious inequalities) and in front of many of those speeches, that covered with a veneer of "rights" do nothing but hide a new puritanism growing day by day (perhaps a deception to ensure that we are less free), including in these claims a patina of asexuality or rather of disapproval towards any manifestation of a sexual nature. We gathered all these works in a dark selection, we wanted to put the weight on what has been present since the beginning of the human being, from the remote matriarchy (here we have the sculptures of the "goddesses of fertility" found scattered around the world) and to lean clearly towards that primordial feminine figure that is not an invention of our century. That need for equality between humans does not have to hide eroticism or sex, something so obvious, today seems to be in danger self-censorship and hooking off pictures of museums.
Let’s carry on dreaming in dark rooms with the most perverse and hidden, leaving as unknown which is the genre we got on our minds or below our hips.
Luis Royo & Romulo Royo

Women have no problem objectifying the bodies they desire. But every woman knows what it's like to be that object, to be reduced to a flat vehicle for someone else's fantasies instead of a person with sexual agency. We don't have an even playing field, and given the opportunity to express desire, whether for one's own body or someone else's, women perhaps have an easier time remembering what it's like to be the object.
Maybe someday we'll get to a point where all depictions of sexuality are this complex, with bodies on display for arousal or introspection, but not for ownership.
Elle – Jaya Saxena


Log in to view pricesavailable18h 44mn ago
DAMKINA - GODDESSES OF NIBIRU
Romulo Royo
PAINTING
Acrylic and oil on paper.
Measure of 100 x 70 cm. ( 39.37 x 27.55 in. ) in lacquered frame with passepartout.
Year of realization 2015.
Signed in the bottom right of the piece.
 
It belongs to the series Goddesses of Nibiru, reflects the game of the myth and reality. The delicacy and strength represented by the female figure. Captures beautiful, enigmatic and sometimes veiled factions, as if it were a dream or illusion.
 
The tones are clear and contrasted, going from a light skin and background to shades almost of black, producing a highly-balanced contrast. The brushwork is expressive without affecting the pearly skin and serene posture. This fluency in his strokes is reminiscent of abstract art, in contrast with a totally figurative, delicate style of painting. Once again, Romulo gives us a piece in which we can appreciate matter, glazing and fluent brushwork, at the same time as there is a definition and representation of beauty. It is not at all easy to be able to find all these elements together.
  
Painting has always seemed torn between an inward and an outward gaze: between vision and perception, between our dreams and the concrete, highly politicized conditions framing our comprehension of the world and what it might become. Today is no different. After a period in which the medium has been dominated by process-based abstraction, the figure – and representation with it – is ascendant again. But, if the 1990s and 2000s saw artists such as John Currin distorting classical form while others, following Gerhard Richter, mimicked photography, today’s figuration displays a distinctly different character. Gone, for the most part, are the echoes of old masters; gone, too, are the blurs of photorealism. What takes their place, instead, is a highly idiosyncratic approach filtered through pronounced affect, comic-book and sci-fi aesthetics, dreamy narratives and an eagerness to engage with our political moment without forfeiting the sensuousness of the medium.
David Geers (Sotheby's)
 



2018-07-29: price changed from 6800.00€ to 8000€

Log in to view pricesavailable18h 44mn ago
TO THE KING A DAUGHTER
Luis Royo
PAINTING
Acrylic with airbrush and oil on paper.
Painted surface 27 x 44.5 cm ( 10.62 x 17.51 in. ) in a format of 43 x 60.5 cm ( 16.92 x 23.64 in. )
Year of realization 1999.
Signed on the bottom right of the piece.
Work custom made for the novel's front To the King a Daughter by writer Andre Norton and Sasha Miller. Edited in USA by Tor Book Editorial.
Published inside the author's book Evolution, page 45. Edited in different languages and distributed internationaly.
 
Painting has always seemed torn between an inward and an outward gaze: between vision and perception, between our dreams and the concrete, highly politicized conditions framing our comprehension of the world and what it might become. Today is no different. After a period in which the medium has been dominated by process-based abstraction, the figure – and representation with it – is ascendant again. But, if the 1990s and 2000s saw artists such as John Currin distorting classical form while others, following Gerhard Richter, mimicked photography, today’s figuration displays a distinctly different character. Gone, for the most part, are the echoes of old masters; gone, too, are the blurs of photorealism. What takes their place, instead, is a highly idiosyncratic approach filtered through pronounced affect, comic-book and sci-fi aesthetics, dreamy narratives and an eagerness to engage with our political moment without forfeiting the sensuousness of the medium.
David Geers (Sotheby's)
 
The statue is big. It looks like a toad, but without the width neck. It is made with grey and brownish stone, and it rests under its powerful hindquarters, supported by a bed of green reeds. Its front rests more or less under its big bulbous gut, as the hands of a pregnant woman would do on her belly. On the top of the head, protrude a pair of 2 big bright yellow eyes with red pupils, that seems to be made of some polished gem, but not carved. Under its front legs, it has got the belly marked with some kind of writting carved on the stone. the marks are on its majority dots and lines.
Evolution




2018-09-07: price changed from 3025.00€ to 3500€

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS III SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 14 x 21.7 cm. ( 5.51 x 8.54 in. ) in a format of 22.5 x 31 cm. ( 8.85 x 12.20 in. )
Year of realization 2004.
Signed in the bottom right of the piece.
Published inside the author's book Conceptions III, page 31. Edited in different languages and distributed internationaly.

Painting has always seemed torn between an inward and an outward gaze: between vision and perception, between our dreams and the concrete, highly politicized conditions framing our comprehension of the world and what it might become. Today is no different. After a period in which the medium has been dominated by process-based abstraction, the figure – and representation with it – is ascendant again. But, if the 1990s and 2000s saw artists such as John Currin distorting classical form while others, following Gerhard Richter, mimicked photography, today’s figuration displays a distinctly different character. Gone, for the most part, are the echoes of old masters; gone, too, are the blurs of photorealism. What takes their place, instead, is a highly idiosyncratic approach filtered through pronounced affect, comic-book and sci-fi aesthetics, dreamy narratives and an eagerness to engage with our political moment without forfeiting the sensuousness of the medium.
David Geers (Sotheby’s)

This third edition of Conceptions it is dedicate completely to the femenine body. it is a searching of de idealic beauty, an unattainable beauty which has been followed all the time. His waste of nuances is in the inexhaustible forms of his anatomy. And in all endless gazes with which it can give us away.
Conceptions III

Log in to view pricesavailable18h 44mn ago
BAU - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Acrylic and oil on canvas.
Size 46 x 38 cm. ( 18.11 x 14.96 in. )
Year of realization 2015.
Signed in the bottom right of the piece.

This picture conveys power at the same time as transmitting serenity. Its colours and symbols like tattoos are a mixture of oriental and ethnic. They situate us are in the Goddesses series.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Romulo Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.
 
Figurative painting, it seems, is destined to be contemporary art’s perennial sidepiece: always available for a fling, never for very long. The last time one could admit to a passion for it without committing social suicide in the art world was probably around 2003, when the painter John Currin had his midcareer survey at the Whitney Museum of American Art, in New York. Currin, known for injecting new ideas into age-old images of the body, was handsome, successful, and youthful. His peers were also of the moment: Elizabeth Peyton palled around with Marc Jacobs, and George Condo bedeviled collectors with lewd portraiture. The year before Currin’s retrospective, an exhibition curated by Alison Gingeras at the Centre Pompidou, in Paris, “Dear Painter, Paint Me…Painting the Figure Since Late Picabia,” had opened to acclaim. As the critic Roberta Smith observed in TheNew York Times, “reports of painting’s death have been exaggerated for about 30 years.”
  
"The body in crisis is increasingly present in our daily lives,” notes MoMA PS1 curator and associate director Peter Eleey, who headed up the “Greater New York” 2015 curatorial team. “Whether it’s in reference to the refugee situation"—he didn’t specify which one, but there are plenty—“or the way the media is processing Black Lives Matter, abstraction has been comfortable—for us. But it doesn’t give shape to the discomforts and questions that I think a lot of us are grappling with.” Deitch seconds that, adding, “This is not a time when a ponderous Mark Rothko painting about myth is relevant.” He ventures that figurative painting allows for more-diverse cultural content—clothing, skin color, setting—than abstraction ever can.
W - Fan Zhong

Log in to view pricesavailable18h 44mn ago
NEBAT - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 92 x 73 cm. ( 36.22 x 28.74 in. )
Year of realization 2014.
Signed in the bottom right of the piece.

This picture belonging to the Goddesses of Nibiru series reflects the play on myth and reality, the delicacy and the strength of the female figure. The series has been exhibited at the most important contemporary art shows including ARCO Madrid, Art Miami, GIGE Beijing China, Istanbul’s Art International and FIAC.
Romulo’s work has been auctioned at such exclusive auctioneers as Christie’s, Ketterer Kunst, Munich, Galartis Switzerland and the auction organized by The Womanity Foundation, with the participation of the famous actor Simon de Pury and such prestigious galleries as Gagosian, Miguel Marcos and Aquavella.

QUEENS
Although they appear to be the shadow of the King, as mere decorative elements, Queens exercise great influence. Because of this, Queens usually acquire more relevance than their husbands because while kings have power, Queens have many Powers. In front of power, the world obeys, but in front of the many Powers, the world is transformed.
There is a queen of love and another of panic. There are queens of unfulfilled desires and forgotten caresses, of impossible projects, lost glances, remembered dreams, of secret pain, and of the baited breath. There is also a queen who dies with the full moon and is reborn on the fourth waning of the moon.
There are discreet queens, small queens, and those without crowns. All are extraordinarily influential. There are queens of the common life and daily routines. There are queens of lost socks, queens of blunders, queens of broken nails, and queens of chipped plates, empty trays, disorganized drawers, and a queen of sad smiles. There is even a queen without powers that only serves to console the unsuccessful.
The queen’s crown is not made of gold or precious jewels, but with a touch of night and a few drops of silver. On the feminine heads, black crowns with eyes can be found, with sharpened points of hair, shark bones, scarab wings, and water that springs from a fountain of red lips.
There exists a damned queen, banished from all other kingdoms. Outlawed since the beginning of time, she has grown in solitude and has made herself as high as the flight of an eagle and as scarce as the flapping of a vulture. She moves through all pathways, wrapped in her black robes, confident that one day she will conquer the world. This is her majesty Death.
Fantastic Art

Log in to view pricesavailable18h 44mn ago
METAL-PIEL
Romulo Royo
SCULPTURE
Aluminum sculpture 3/5

Size 51 x 62 x 64 cm.
Year of realization 2007
Work published inside the author's book Siameses, pages 24-25.
An aluminium sculpture, the man coming out of the wall, belonging to the Metal-Skin series. One of the five existing sculptures was modified for the gardens of the Alcort Foundation when it was bought and it was published in Romulo Royo’s book “Videncia, Velamiento, Ceguera”, pages 34-35.

Width : 12

Log in to view pricesavailable18h 44mn ago
KISHARGAL - GODDESSES OF NIBIRU SERIE
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 162 x 130 cm. ( 63.77 x 51.18 in. )
Year of realization 2015. 

This important painting is a clear demonstration within the series, of the different techniques used to achieve delicacy, lightness and an antagonistic transparency at the very moment in time that warns us that something might happen. It is undoubtedly one of the important pieces in the Goddesses series, in terms of both its size and the treatment of the picture.
In the series, Goddesses of Nibiru, he reflects the play on myth and reality. Delicacy and strength are represented by the female figure. He captures beautiful, enigmatic and sometimes almost veiled features, as if in a dream or an illusion. The garments and ornaments that he adorns them with are timeless, objects that may conjure up ancient civilizations, such as feathers and metallic ornaments in contrast with futuristic elements, like strange headdresses and, in certain pictures, beams of light shining out from inside the strange characters’ necks.
Royo brings his own brand of aesthetics, centred on the goddesses that inhabit the planet called Nibiru, following texts from Mesopotamia and Babylon. According to these texts, it is a planet in the solar system that orbits around our star every 3,600 years. Nibiru is the home of the goddesses, of the Annunaki, or in other words, winged creatures.
It is curious that in Mesopotamic mythology a division can be made between Sumerian and Semitic divinities. First came the Sumerian gods, to be later adapted by the Akkadians, Babylonians, Assyrians, Arameans and Chaldeans (all Semitic peoples), only to then go on to become sources for Christian and Hebrew religions to draw on. And they adapted gods like Enki, Enlil, An and Inanna, among others. In some cases, they have similar attributes in the latter religions as in the ancient texts, though adapted and differently named.

Log in to view pricesavailable18h 44mn ago
GODDESSES OF NIBIRU I
Romulo Royo
PAINTING
Ink, acrylic and oil on canvas.
Size 162 x 130 cm. ( 63.77 x 51.18 in. )
Year of realization 2014.

This picture is the first that the artist painted for the Goddesses of Nibiru series and those familiar with his work can see that it is a transition from the series Tomoe Gozen to Goddesses, which makes it a singular piece. The treatment of the skin is of superb realism. The pearly skin achieved with layers of oil paint, give it a special gleam and realism. The background is very fluid and contributes a fresh image to the picture in spite of its realism. Romulo points our attention in the direction that he wants, the face reveals eyes watching us mysteriously from behind the mask.
This picture is an unquestionably good work in terms of both the quality of painting and the period that it belongs to and symbolizes, as the first picture in the Goddesses series.
In the series Goddesses of Nibiru, reflects the game of the myth and reality. The delicacy and strength represented by the female figure. Captures beautiful, enigmatic and sometimes veiled factions, as if it were a dream or illusion. The costumes and ornaments he decorate them with are timeless, objects that can remember us ancient civilizations, such as feathers, dressings with metal pieces.
Royo brings its own aesthetic, centered on the gods who inhabit this planet called Nibiru, basing on Mesopotamian and Babylonian texts. According to these texts it is a planet in our solar system that orbits our star every 3600 years. Nibiru is the home of the gods, of the Anunnaki, or what is the same, winged beings.

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 19.5 x 25 cm (7.67 x 9.84 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2003
One of the previous versions to the final illustration Winter Warriors. Published inside the author's book Conceptions II, page 19. Edited in diferent languages.

"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 17 x 19 cm (6.69 x 7.48 in) in a format of 18.5 x 25.5 cm (7.28 x 10.03 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 21. Edited in diferent languages.

"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 15 x 20.5 cm (5.90 x 8.07 in) in a format of 18 x 25.3 cm (7.08 x 9.96 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 49. Edited in diferent languages.

"Another port that attracts the pencil is the serenity, rummage through the mystery reflect the moment before ..."

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 17.5 x 25 cm (6.88 x 9.84 in) in a format of 25.5 x 35.5 cm (10.03 x 13.97 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 58. Edited in diferent languages.

"We could use the previous pages; The wind that brings enchanted stories"

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 13.7 x 20.8 cm (5.39 x 8.18 in) in a format of 18.5 x 25 cm (7.28 x 9.84 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 22. Edited in diferent languages.


"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS I SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 20.5 x 25 cm (8.07 x 9.84 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2002
Work published inside the author's book Conceptions I, page 49. Edited in diferent languages.

"Some drawings take shape indefinitely and the wrapping of their world is also veiled".

Log in to view pricesavailable18h 44mn ago
PROHIBITED SKETCHBOOK SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 9 x 29 cm (3.54 x 11.41 in) in a format of 16.5 x 39 cm (6.49 x 15.35 in)
Year of realization 2004
Work published inside the author's book Prohibited Sketchbook, page 41. Edited in diferent languages.


"And when this cluster of ideas comes together, they fit together like a puzzle, you raise your eyelids and you feel good between them".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 33.6 x 24 cm (13.22 x 9.44 in) in a format of 36.4 x 30 cm (14.33 x 11.81 in)
Year of realization 2003
One of the versions made for the videogame Tribes of Dynamix (USA). Published inside the author's book Conceptions II, page 70.71. Edited in diferent languages.


"The pencils reflect the tension of the battle and at the same time conform to the measures of the final reproduction".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on paper.
Painted surface 16 x 25.5 cm (6.29 x 10.03 in) in a format of 23 x 32.5 cm (9.05 x 12.79 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 52. Edited in diferent languages.

 
"The fund as an element of claim. The figures remain at the intersection of the two eyes, the skylight of the ship and the viewer himself".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 18.3 x 25 cm (7.20 x 9.84 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 22. Edited in diferent languages.

"These pages are intended to collect notes of distant adventures, to immerse themselves in times of magic and ancient warriors".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS I SERIE
Luis Royo
SKETCH 3
Graphite on tracing paper.
Painted surface 21 x 27.3 cm (8.26 x 10.74 in) in a format of 25.5 x 36.5 cm (10.03 x 14.37 in)
Year of realization 2002
Drawing for the final illustration Playstation Magazine. Published inside the author's book Conceptions I, on page 62. Edited in diferent languages.

"The main element around which an illustration will turn is a good starting point. Everything begins to make sense from its appearance on paper."

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 17.5 x 25 cm (6.88 x 9.84 in) in a format of 25.5 x 36 cm (10.03 x 14.17 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 61. Edited in diferent languages.

"Another port that attracts the pencil is the serenity, rummage through the mystery, reflect the moment before ..."

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
SKETCH
Graphite on tracing paper.
Painted surface 16.5 x 16 cm (6.49 x 6.29 in) in a format of 21 x 21 cm (8.26 x 8.26 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 64. Edited in diferent languages.

"The movement allows playing with the perspectives and dedramatizing the image. That works with own characters and with others already created".

Log in to view pricesavailable18h 44mn ago
CONCEPTIONS II SERIE
Luis Royo
DRAWING
Graphite on tracing paper.
Painted surface 12.5 x 35 cm (4.92 x 13.77 in) in a format of 20 x 51 cm (7.87 x 20.07 in)
Year of realization 2003
Work published inside the author's book Conceptions II, page 30. Edited in diferent languages.


"There are works that after the first pencils, they go to the definitive illustration and nevertheless, never come to be realized, for several reasons".

Log in to view pricesavailable18h 44mn ago
BLACK FLIGHTS 3
Luis Royo
PRELIMINARY 3
Acrylic using airbrush on paper.
Painted surface 18 x 23 cm. ( 7.08 x 9.05 in. ) in a format of 22 x 29 cm. ( 8.66 x 11.41 in. )
Year of realization 1995.
Signed on the bottom left of the piece.
Previous work made for the cover of the magazine Penthouse Comix (USA)
 
In the big sack of science fiction everything is possible and impossible. The bullets are faster and leave a halo of light like fireworks.
Luis Royo

Log in to view pricesavailable18h 44mn ago
LUZ - EL REGRESO 2
Luis Royo
COLOR DRAWING
Graphite and acrylic with airbrush on tracing paper.
Painted surface 26.8 x 36.8 cm. ( 10.55 x 14.48 in. ) in a format of 35 x 45 cm. ( 13.77 x 17.71 in. )
Year of realization 2016.
Signed on the bottom right of the piece.
Published on the inside of the author's book Malefic Time, Akelarre, page 98.
 
New York sunk in to a deep chaos. Its appearance was even more decadent after the passage of the legions of the sun. The streets were deserted completely. All the people lived now under the yoke of the new settlers and were crowded into basements.
Malefic Time, Akelarre

Log in to view pricesavailable18h 44mn ago
SHADOWS 1
Luis Royo & Romulo Royo
PAINTING
Acrylic and oil on paper.
Painted surface is 24 x 30 cm (9.44 x 11.81 in) on a paper of 35 x 50 cm. (13.77 x 19.68 in)
Year of realization 2013
Signed on the left hand side of the piece.
Published inside  the book Malefic Time, 110 Katanas. Page 34. Edited in several languages and distribuited internationally.
  
"The bubbles of liquid begin to form figures, a pulsating mass that takes shape in blackish beings with great claws and powerful jaws"
Malefic Time, 110 Katanas



2017-11-22: price changed from 1200.00€ to 960€
2017-11-28: price changed from 960.00€ to 1200€

Log in to view pricesavailable18h 44mn ago
MALEFIC EVOLUTION
Luis Royo
DRAWING
Graphite on Tracing paper.
Painted surface of 13,5 x 29 cm ( 5,31 x 11,41 in) in a format of 14,5 x 37 cm. (5,70 x 14,56 in)
Year of realization 1999
Signed on the bottom-right of the piece.
Work published in the interior pages of the author's book, Evolution, page 72. Edited in diferent languages and distributed internationally.
 
"The four windows that opened on the left side of the room were high up above the door, and on the right side there was only the low window through which we entered and facing the forest"



2017-11-22: price changed from 450.00€ to 360€
2017-11-28: price changed from 360.00€ to 450€

Log in to view pricesavailable18h 44mn ago
DREAMS AT THE HOUSE OF LUNA 6
Luis Royo
COLOR DRAWING
Acrylic and oil on paper.
Size 23 x 29.5 cm (9.05 x 11.61 in)
Year of realization 2013
Published on the inside of the author's book Malefic Time 110 Katanas, page 107. Edited in different languages and distributed internationally.
 
"The place is reddish ... the stone, the air seems to get wrapped in this color. Same as her hair. Long hair, with the color of blood. Hair belonging to a woman of infinite beauty. A woman, The women ..."



2017-11-22: price changed from 4500.00€ to 3600€
2018-02-06: price changed from 3600.00€ to 1200€
2018-09-07: price changed from 1200.00€ to 750€

Log in to view pricesavailable18h 44mn ago
THE HORSECLANS X
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on cardboard paper.
Painted surface 29 x 48.5 cm. ( 11.41 x 19.09 in. )  in a format of 36.5 x 51 cm. ( 14.37 x 20.07 in. ) 
Year of realization 1984.
Signed on the bottom right of the piece.
Cover for the novel Bili The Axe ( Horseclans #10 ) by the writer Robert Adams, edited by the editorial Futura Publitacions (England)
 
With the help of powerful inhuman allies, Prince Bryuhn has persuaded Bili and his warriors to delay their return to Confederation lands and join in his campaign against the deadly invading army that threatens to destroy New Kuhmbuhluhn. But even as Bili and his warriors rally to the Kuhmbuhluhmers' aid, the forces of the Witchmen are on the move again. Are Bili and Prince Bryuhn galloping straight into a steel-bladed trap from which death is the only release?
Words with magical powers that leave us open-mouthed and staring. They contain the key that silently opens the door of a different country.
Bili The Axe





2017-11-22: price changed from 1800.00€ to 1440€
2017-11-28: price changed from 1440.00€ to 1800€

Log in to view pricesavailable18h 44mn ago
LION PAWS 1
Luis Royo
PAINTING
Acrylic with airbrush and oil on paper
The painted surface is 30 x 40 cm (11.81 x 15.74 in) in a paper of 50 x 70 cm (19.68 x 27.55 in)
Year of realization 2011.
Signed at the bottom on the right hand side of the piece.
Published inside the book Malefic Time, Apocalypse, page 32. Edited in several languages and distribuited internationally.

 
"There is an old lion-legged bathtub in a corner of the nave. Even her steps are taken by her, and in her stagnant waters she ends up submerged in her tormented body, as if she could find in her heart a trap of peace she can never get"
Malefic Time, Apocalypse



2017-11-22: price changed from 12000.00€ to 9600€
2017-11-28: price changed from 9600.00€ to 12000€
2018-09-21: price changed from 12000.00€ to 14000€

Log in to view pricesavailable18h 44mn ago
5TH APOCALYPSE
Romulo Royo
PAINTING
Ink, acrylic and oil on handmade paper.
Measure 140 x 160 cm (55.11 x 62.99 in)
Year of realization 2011
Published on the inside of the authors' book Malefic Time, Apocalypse, page 46. Edited in different languages and distributed internationally.

 
"She had barelly crossed a third of the avenue, a barricade of piled vehicles stopped her advance. It was too obvious that those piles of dented metal were not placed there by chance, so when from that metal trench were allowed to see half a dozen silhouettes, Luz had already picked up her cloak to the sides and her hands glittered the blade of her austere katana"
Malefic Time, Apocalypse



2017-11-22: price changed from 8500.00€ to 2000€
2017-11-28: price changed from 2000.00€ to 2500€
2018-02-06: price changed from 2500.00€ to 14000€
2018-07-29: price changed from 14000.00€ to 1200€

Log in to view pricesavailable18h 44mn ago
LUNA'S SOLDIER 2
Luis Royo
COLOR DRAWING
Watercolor and oil on tracing paper.
Painted surface 25 x 35 cm. ( 9.84 x 13.77 in. ) in a format of 32 x 45 cm. ( 12.59 x 17.71 in. )
Year of realization 2013.
Published on the inside of the author's book Malefic Time, 110 Katanas, page 26.

Soum insisted that I have to complete my training here, that it was necessary to go through these walls, that they were waiting for me. I do not know if anything of me expected a different reception. The attitude of these women does not invite me to think that my presence is altering the routine.
Malefic Time, 110 Katanas



2017-11-22: price changed from 2500.00€ to 2000€
2017-11-28: price changed from 2000.00€ to 2500€

Log in to view pricesavailable18h 44mn ago
THE THIRTEEN MOONS SECT
Luis Royo
PAINTING
Acrylic and oil on paper.
Painted surface 39.5 x 18 cm. ( 15.55 x 7.05 in. ) in a format of 70 x 46 cm. ( 27.55 x 18.11 in. )
Year of realization 2011.
Published on the inside of the author's book Malefic Time, Apocalypse, page 19. Edited in different languages and distributed internationally.
 
She soon went from being a simple maid to one of the Eight Elect Katanas, the elite body of the Orden. Thanks to that, she was honored with the destiny to travel to New York and find the Thirteenth Incarnation of the Moon.
Malefic Time, Apocalypse



2017-11-22: price changed from 7000.00€ to 5600€
2017-11-28: price changed from 5600.00€ to 7000€
2018-06-03: price changed from 7000.00€ to 7500€

Log in to view pricesavailable18h 44mn ago
THE MONASTERY OF THE RED WITCHES
Luis Royo
PAINTING
Watercolor, acrylic with airbrush and oil on paper.
Painted surface 92 x 63.5 cm. ( 36.22 x 25 in. )
Year of realization 2004.
Signed on the bottom right of the piece.
Published on the inside of the author's book Subversive Beauty, page 60 - 61. This book was dedicated to all the women with painted skin. Edited in different languages and distributed internationally.

Beyond the high mountains and the deep oceans, a proud king spent his days longing for the fairy Yelena, for in his ears came news of his great beauty. He sought in his kingdom how noble he could go in his quest, but nobody dared because the fairy lived on the other side of the world.
Luis Royo




2017-11-22: price changed from 16000.00€ to 12800€
2017-11-28: price changed from 12800.00€ to 16000€

Log in to view pricesavailable18h 44mn ago
THE HORSECLANS III
Luis Royo
PAINTING
Oil and acrylic using airbrush on paper.
Painted surface 32.9 x 55 cm ( 12.95 x 21.65 in. ) in a format of 51 x 73 cm ( 20.07 x 28.74 in. )
Year of realization 1984.
Cover of the novel The Revenge of the Horseclans (Horseclans #3) from the writer Robert Adams. Edited by the editorial Futura Publications (England).
Published inside the author's book Women, page 10.
 
Delicious fantasy "chorus" because despite what begins from what seems to be Manannan, the "Cowardly Knight" in the center of the novel, in reality soon other characters will appear who become the protagonists effect, without any of them really prevails. .. this, on the one hand makes the book a bit more difficult because you have to take into account many more names and personal lives, but on the other hand it is an unusual and nice perspective, especially in a fantasy novel and relatively short final transmission .
Another important and positive feature of this book is how Gemmell traces the various characters, the evolution of their character and how they become "heroes" or "evil" (and many can be inserted in both categories), as well as the management of magic , often a weak point in many fantasy novels, but here it is well explained and integrates perfectly with the plot.
I cavalieri dei Gabala

Real stories, stories that draw us in and tap our emotions always being the same way. The stories that strike our imagination, awaken our fears, or shape our illusions always beging with "ONCE UPON A TIME". We learn this phrase around a campfire, by the fireplace, or in some other intimate warmth of our home. We learn it from the lips of our grandmother, in the pages of a book stories, or in the TV screen. And from them on, whenever we hear it, launched by an ancestral or childhood memory, we're carried off to the world of fantasy.
Women




2017-11-22: price changed from 5500.00€ to 4400€
2017-11-28: price changed from 4400.00€ to 5500€

Log in to view pricesavailable18h 44mn ago