Royo, Luis - Original acrílico - Track of the Wolf or Sand in the Wind - (1990)

Royo, Luis - Original acrílico - Track of the Wolf or Sand in the Wind - (1990)
Luis Royo - 17,50 x 23,50 cm - Original Firmado - Goed - 1 Originele tekening(en)

* Original acrylic with airbrush and oil on paper, signed by Luis ROYO.

* Original acrylic - Track of the Wolf or Sand in the Wind.

Cover project for the very successful novel Sand In The Wind by writer Kathleen O’Neal Gear, published in (USA) by Mass Market Paperback (1990) with magnificent colours.

* Original dimensions of the acrylic: 17.50 cm x 23.50 cm

* Original signed right at the bottom of the ‘wolf’ as can be seen in the original by Luis Royo.

‘There is also a moment in time where man was not history, in which it’s attractive to dive and imagine.
The Far West, that ideal place to lose your thoughts. Full of childhood references and films, it has a special appeal, and that of placing human beings facing their track ahead more than facing their enemies. It’s the place of glazes to the horizon and endless landscapes, Luis Royo.’

Luis Royo (1954)

Exceptional painting of the master of fantastic and sci-fi illustration of the last 40 years.

It’s rare to find for sale a so exceptional work by artist Luis Royo.

In recent years, Luis Royo's works have been sold in the best auction houses in Europe and America, being increasingly sought after by collectors and museums around the world.

In 1989, when he created this work, he was very successful. With the help of the agency and publishing house Norma Editorial, his works are published in the international market. Among other countries, he made works for the US, UK, Sweden, and book covers for the most prestigious publishers such as Tor Books, Berkley Books, Avon, Warner Books, Batman Books and others.

US magazines, such as Heavy Metal or National Lampoon, often resort to the art of Luis Royo to illustrate their covers. European magazines, including Cimoc, Comic Art, Ere Compress or Total Metal, also do. These will not be the only work done, he also made video and video game covers.

1. Luis Royo’s biography:

He was born in 1954 in Olalla, Teruel, Spain. In 1972 he started to exhibit his paintings and in 1980 he first published his comics in magazines such as 1984, Rambla, El Víbora, and Heavy Metal.

In 1983, he began to focus on illustration, the area where he would be most successful, and since then he would publish his work internationally. He created works for countries such as the US, Germany, Great Britain... as well as book covers for such prestigious publishers as Tor Book, Berkley Books, Avon, Warner Books, and Batman Books. Magazines often used Luis Royo’s artwork to illustrate their covers, including US magazines Heavy Metal and National Lampoon and European magazines Cimoc, Cómic Art, Ere Comprime, and Total Metal. This was not his only work during these years, since he also began designing video cases and such mythical video games as Game Over, Turbo Girl and Navy Moves.

From 1990, once he had established a firm hold on the international illustration market, he began to increased his production of original works. Most of this work was published in different media and on different materials, as well as in the artist’s own books. Prohibited, Subversive Beauty, Secrets, or Fantastic Art are among his more than twenty personal books.

Throughout his long career, Luis Royo has exhibited his work at art shows and galleries in France, Spain, Belgium, Germany, Russia and the USA. He has also won numerous awards, including the Spectrum Silver Award (The Best in Contemporary, Fantastic Art) and the Inkpot Comic Art Award (Comi-Con International, San Diego) in the USA, or the Pilgrim Fantasy Award in CTPAHHNK, in Russia, and the Fumetto Cartoomics Millenium award in Italy. Both museums and galleries around the world have works by Royo.

2. Luis Royo’s more detailed biography:

Luis Royo is a Spanish artist, born in Olalla (Teruel) in 1954. He has produced paintings for his own books and exhibitions, and his work is found in many different media: videogames, role-playing games, covers of music CDs, covers of novels, sculptures, tarot cards, etc. He is best known for his sensual and dark images, almost apocalyptic, in worlds of fantasy with mechanical life forms.

In 1972 he began painting pictures and exposing them in various forums. In 1978 he began his career as a comic artist. A sample of these works—published in the main magazines of the time—is compiled in the albums Luis Royo (Rambla, 1985), Desfase (Ikusager, 1986) Antología Luis Royo Cómics 1979-1982 Volumen 1 (Norma Editorial) and Antología Luis Royo Cómics 1981-1983 Volumen 2 (Norma Editorial).

In 1983 he began working as an illustrator, the area where he would be most successful. Hand by hand with the agency and publishing house Norma Editorial, his works are published in the international market. Among other countries, he made works for the US, UK, Sweden and book covers of the most prestigious publishers as Tor Books, Berkley Books, Avon, Warner Books, Batman Books and others.

US magazines, such as Heavy Metal or National Lampoon, often resort to the art of Luis Royo to illustrate their covers. European magazines, including Cimoc, Comic Art, Ere Compress or Total Metal, also do. These would not be his only works, he also performed covers of videos and video games.

Since 1990, and once established in a strong position in the market of international illustration, the amount of own works extends to the detriment of the commissions. Most of his free work would be acquired by different media and published in their compilations.

In 1992 his first book, Women, appears. It’s a journey through different genres. In Spain it is published by Norma Editorial, Editorial Soleil is in charge of publishing it in France, and Editions Forum in Germany. Following this compilation, he holds his first exhibition of originals.

In 1993 Comic Images launches a collection of trading cards with his artwork, entitled From Fantasy To Reality.

In 1994 Malefic is published. With this book we discover an author, able not only to illustrate a world full of fantasy, but also to create a story, writing about the character who gives the book its title. That year, Women is reissued, and in the US Penthouse magazine publishes an article about his illustrations.

In 1995, new publishers are interested in the work of Luis Royo: Ballantine, Nal, Daw, Doubleday, Harper Paperbucks, Zebra, Hasa Corporation, Pocket Books for Star Trek series, Penthouse Comic, or Marvel Fleer Ultra X-Men. There are many new formats that appear this year, we can find the work of Luis Royo in different countries including Eastern Europe: calendars, posters, t-shirts, CD covers, mouse pads for computers, collections of Trading Cards with other authors, such as the Art of Heavy Metal, or single, his third collection of Trading Cards, The Best of Royo.

In 1996, the work of Luis is the cover of American and German Penthouse, both devote a report inside. At the same time, several reports about his work appear in prestigious publications, among others, La Stampa in Italy, Airbrush Action in USA and Penthouse Comix in Germany. That year, he receives the Silver Award in the United States, Spectrum III, The Best in Contemporary, Fantastic Art Award.

In 1996 his third album Secrets is published. The female figure and the magic are the protagonist, in the style of Beauty and the Beast. This work was published by NBM for the English-speaking countries. This year, the Warm Winds portfolio was released, published by Norma Editorial in collaboration with Heavy Metal. And an exhibition of his work in the show Phantasie Airbrush takes place. Frankfurt (Germany)

In 1997, the interest of Heavy Metal by Luis Royo is reflected in multiple covers and calendars, as well as in its Gallery, entirely dedicated to the Spanish artist. This interest culminates with the commissions of the cover of the 20th issue of the magazine and the series of illustrations about the character F.A.A.K. (Julie Strain) by Kevin Eastman. The second portfolio III Millennium Memory is published. That year, Comic Images would bring out two new collections of trading cards: Royo Secrets Desires (fourth collection of the artist) and Artistic Choices (with other artists). To finish off the year, Women and Malefic are published in the US, and the latter is reissued in Spain.

Luis Royo, paint - working table - brushes In 1998, the following book—III Millennium—appears. In this book, Royo renews his colour palette and offers his particular vision about the end of the century. It is published in the United States and several countries. And he exhibits at the Galería Norma, Barcelona. This year, the tarot card collection The Black Tarot—where the artist develops new images and a personal version of the symbolism of the letters—is released. He makes the calendar for Heavy Metal and the fifth collection of trading cards, under the title III Millennium. A year when the artist reflects a clear evolution towards a bolder and much more intimate illustration.

In 1999, and coinciding with the Barcelona Comic Fair, a new album, Dreams, is launched. A compilation of all illustrations commissioned in the ten previous years. It is published in different languages. This album highlights the versatility of the artist to adapt to different styles and themes. He exhibits in the comic fair Viñetas desde o Atlántico, A Coruña. At the end of this year the artist shows us another twist, more daring and honest than ever, with the publication of the first volume of Prohibited Books. It surprises with an erotic theme, the myth of the beauty and the beast becomes the genuine protagonist. A book published in luxury format (comic book size). In 2000 the third portfolio Tattoos is edited, along with other publications, posters, calendars and more. In this year, he receives the Millennium Award at the 7th Salone del Fumetto Cartoomics, Milano (Italy). His work is exhibited at the same time.

In 2001 Evolution is published. In this album more personal works are combined with commissions. In the album appears the study of character Malefic. Prohibited II hits the shops, continuing the subject of the first volume. Heraclio Fournier publishes poker cards with his artwork. And an exhibition of his work takes place in La Massana Comic, Andorra.

Published in 2002, Conceptions I, a book that compiles the process and study of the drawings, it contains analyses of alternatives before the final work. A collection of sketches and pencil drawings. Publication of the fourth portfolio Chains. This year, Luis Royo exhibits his work and receives the Pilgrim Fantasy Award at CTPAHHNK, St. Petersburg (Russia).

2003. Publication of Visions, an album that combines commissions with personal work. As in previous occasions, it’s published in several languages. Publication of the fifth portfolio Prohibited Sex. Second edition with new format of III Millennium Memory Portfolio. Publication Prohibited 3 closes this album cycle of Prohibited Book. At the end of this year the second album Conceptions II is published, featuring sketches and preliminary drawings accompanied by texts.

2004. Publication of Fantastic Art. This would his most important compilation. It collects the most comprehensive collection of illustrations by the artist. Published in two formats, the limited deluxe edition is a good example of the importance of this collection. The album Prohibited Sketchbook—with a case included—hits the shops. This volume shows the sensuality and desire of Prohibited Book, free of colour and in its initial stages. DarkHorse launches the first figure. Anthologie Luis Royo Comic is published. This volume collects stories created by the artist from 1979 to 1982. Combining it with other work, he dedicates four years to The Labyrinth Tarot, one of his most personal works. A tarot deck in which all pictures scrupulously maintain their hermetic symbols. It appears in two formats, an exclusive deck and a book with the same title, which includes all the illustrations with explanatory texts written by the artist about the hidden meaning of each card and its power of interpretation.

Conceptions III arrives in 2005, the third of his collection of sketches with case included. A new edition of Millennium III, and a Japanese edition. Publication of the sixth portfolio Tattoo Piercing. The album Subversive Beauty is published. This book is full of images pervaded of sensuality and provocation—images moving towards the pursuit of personal and individualistic beauty in defiance of the social conventions—and relies on piercing and tattoo body ornament. With a luxury edition that includes for the first time not only an illustration but also a signed original.

In 2006, coinciding with the 24th Barcelona Comic Fair, ​​Luis Royo is honoured with an exhibition. At the same time two books are launched: Dark Labyrinth and another novelty, the start of a trilogy Wild Sketches 1, a collection of sketches in small size, common in the edition of manga. The second volume Wild Sketches 2 is published. That year, the second album Anthologie Luis Royo Comic appears. That same year he receives the award Unicorn Fantasy, VII International Week of Fantasy and Horror (Málaga). Marto company from Toledo launches the sword La Elfa Negra based on the book cover of Fantastic Art.

In 2007 he performs an ambitious work in Moscow along with Rómulo Royo. A fresco work on a dome of 24 meters in diameter, where more than 40 life-size female figures play with architecture and impossible vanishing points to collect the classic themes of eroticism. This would result in a new publication, Dome. This year he exhibited in Fantastic Art, Seattle (USA) and Strychnin Gallery, NY (USA).

In 2008 Luis Royo ends the trilogy collection of wild sketches with Wild Sketches 3.

In 2009 the album Dead Moon is published, a violent and romantic story that leads to the Apocalypse, a story with oriental flavour in a gothic and tragic world. Publication of the seventh portfolio Dead Moon. And an exhibition of originals from Dead Moon book takes place in the Manga Fair in Barcelona. Later this year, Malefic New Remastered is published. This is one of the most charismatic books by Luis Royo, a new revised and expanded version by the artist with new images and sketches.

In 2010 Dead Moon Epilogue comes out, an addition to the first book, which elaborates on the past of Luna, Marte and their families. The legend of how Louyang was formed, and how You and Chang families settled there. This book includes a CD with the process of making the two books and a fold-out with El juego del destino. Publication of the eighth portfolio Dead Moon Epilogue. And publication of an I Ching deck illustrated with images of Dead Moon. And exhibition at Manga Fair of Madrid, with originals of Dead Moon and Dead Moon Epilogue. Also a travelling exhibition at Fnac. Yamato launches a collection of figures based on illustrations by Luis Royo. Publication of portfolio Art Demons, Luis Royo & Rómulo Royo. Deluxe edition with a limited print run. Later this year Prohibited Book New Remastered is published, a new edition that collects all three volumes of the Prohibited Book series, and Prohibited Sketchbook. Edition revised by the artist and expanded with new images and sketches.

In 2011, El paso del tiempo was published, a volume that collects comic book stories made by Luis Royo in 1982-1983 with script by Antonio Altarriba. In 2011, he begins the international multimedia project Malefic Time along with Rómulo Royo. It was joined by different artists.

In 2011, El paso del tiempo was published, a volume that collects comic book stories made by Luis Royo in 1982-1983 with script by Antonio Altarriba.

In 2011, he begins the international multimedia project Malefic Time along with Rómulo Royo. It was joined by different artists.

In December 2011, the first album of the project Malefic Time, Apocalypse was published.

In 2012, part of the work Malefic Time, Apocalypse is exhibited at the Madrid International Contemporary Art Fair, ARCO'12.

That year, in the gallery Miguel Marcos in Barcelona, an exhibition with work of Dead Moon and Malefic

Yamato USA launches a collection of Malefic figures onto the market.

At the same time, the novel written by Jesús B. Vilches and titled Malefic, Codex Apocalypse comes out. And from the same series, the manga Soum.

In 2013, again, exhibition of Malefic Time, Apocalypse at the Madrid International Contemporary Art Fair, ARCO'13.

In 2013, the German edition of Malefic Time Apocalypse was launched in Frankfurt, coinciding with an exhibition at the Schwalbe 54 gallery.

That year, Nocturna Models launches the Malefic Time miniature collection.

In 2014, Malefic, 110 Katanas is published, the 2nd album of the Malefic trilogy.

This year, Malefic Time role-playing game Plenilunio is published. At the same time, works of the Dead Moon and Malefic Time projects are exhibited in Paris, at the Huberty-Breyne gallery.

In this year, he makes the illustrations for the book The Ice Dragon, by George R. R. Martin. And begins a new project for Yamato, developing illustrations of super-heroes of DC Comics to be launched onto the market as collectible figures.

In 2015, auctions of his work are carried out at Sotheby's and Christie's. At the time, he attends as a guest artist at the international fair of Comic Con, San Diego, USA, and receives there the Inkpot Award for Achievement in Comic Arts.

This year an exhibition is also held at the Champaka gallery in Brussels, with a retrospective character.

In 2016, Malefic Time, Akelarre, the latest book of the Malefic trilogy, is released. And the role play of the same project, Tiempos del Irkalla, is published.

This year, he attends the La Mole Comic Con, in Mexico, and the Lucca Comic & Games fair, in Italy, and his new limited edition graphic work collections are shown.

In 2017, he attends the New York Comic Con and his new limited edition graphic work collections published by Laberinto Gris are shown.

Luis Royo, dark studio photography Luis Royo was born in 1954 in Olalla, a small village in Teruel, Spain. He studied delineation, painting, decoration, and interior design. In 1972 he began to paint and exhibit in various forums. In 1979 he began his career as a comic artist publishing in the magazines of the moment. In 1983 he began to focus on illustration, achieving international recognition very soon. It’s in this area where he would be most successful. He developed his career with the help of agency and publishing house Editorial Norma, that distributes his work to the entire world. In 1992 his first book, Women, appears, followed by Malefic, Secrets, III Millennium, Dreams, the Prohibited Book trilogy, Evolution, the Conceptions trilogy, Visions, Fantastic Art, Subversibe Beauty, etc. Along with these titles, he has published collectors cards series, portfolios, posters, and a tarot cards. The increasing popularity of his images allowed for the publication of postcards, calendars, playing cards, t-shirts, album covers, video games, mouse pads, and even sculptures. In 2004 he began working on books with his studies or his own stories, transforming his career as an illustrator into a one as a multidisciplinary author with books such as The Labyrinth Tarot, Dome, Dark Labyrinth, Dead Moon, Dead Moon Epilogue or the extensive multimedia project Malefic Time.

With such an abundant production, Royo has become an authentic cultural phenomenon. His books have gone through numerous editions and have been translated into French, German, English, Italian, Russian, and Portuguese. Magazines like Stampa, Airbrush-Action, and Penthouse have dedicated entire articles to him. Festivals, art galleries, and specialty stores continuously organise exhibitions and tributes. He has made book covers for great authors, and has received the Spectrum Silver (United States), the CartooMics (Italy) and the Pilgrim (Russia) awards, among others.

The success of Royo is due largely to the originality of his work, which has revolutionised the world of illustration. He has a keen interest in fantasy themes, though he experiments with other themes like the western, historic epics, and romance covers. Setting aside his themes, his unmistakable style breathes power while radiating a fragile, almost mystic transparency. His treatment of the human figure, especially his women, endows the body with a strength that, far from being heavy, glows. His use of colour, from the most saturated ranges to the most worn grey contrasts with an intense touch of colour, creates an aura of fascination that invites us to enter his landscapes.

Despite the consistent use of certain elements, Royo´s style reflects a clear evolution. When reviewing his work chronologically, one can see the elements that have been refining his aesthetics and reinforcing the more and more poetic tone of his compositions. The apparent simplicity of his drawings is based on a complex and well studied range of artistic options. His permanence on the front lines in the world of illustration and his increasing success is the result of his constant, subtle, and effective experimentation.

Royo has made the myth of ‘the beauty and the beast’ his main theme, moving from horror to the lyrical. Whatever the theme is, his characters waltz between epic and erotic. Their flesh is overlaid with defiance and stained by threat, making it more exciting. As Royo knows all too well, sex becomes more lascivious when the dark ghost of death floats around.

In his characters’ gaze there is a spark that places them on the border of tragedy, as from their frozen position they could anticipate a destiny as cruel as attractive. Clutching their weapon, they await the next attack. They are tense, and the strength of their muscles make them even more beautiful and dramatic. In the blink of an eye they can disappear, having been devoured by the danger that encircles them. But the immediate future doesn’t interest Royo. He portrays that penultimate moment, when the inner soul of the hero is revealed.

- Antonio Altarriba (scriptwriter and image theorist)

A retrospective look at my work is a good place to try and explain the why and how behind my images. If someone has taken on the challenge of depicting dreams and fantasies, they should be able to shed some light on the subject. It´s difficult to distance oneself and like a pinned insect, observe ourselves objectively, but we can give it a shot. Perhaps a story is the best way to uncover key glimpses into the self and find the very source of one´s inspiration.

Luis Royo, surrounded by books studio photo THE BOY IN THE WINDOW
It was a grey country with long winters, sad faces, empty stomachs and weather-beaten coats, all the disheartening signs of a post war period.

A boy who had just reached the age of seven discovered his existence that day. He had just moved house with his family. They were living on the first floor of an old building, in the old quarter of the city. It was humid, with just one window that overlooked a small courtyard. A place which now, as an adult, he can barely recall a single image of. On his seventh birthday, his family moved to a new neighbourhood. Their apartment was the custodian’s quarters on the eight floor of the building. It was a tiny place, barely more than 30 square metres, but there was one hidden gem, a window with a panoramic view of the entire city. At that moment, his eyes were lost in the horizon and he became conscious of his own existence.

It was a wonderful day, but the night punished him with memories of the windows full of saetinos that overlooked the schoolyard he left behind. Windows where, along with other children, he traced figures. There was a teacher who didn’t like teaching the day´s lesson, and would give each student a blank piece of paper and a drawing for them to trace. For the boy in the window she was a goddess. He spent hour after hour with his friends, their faces pressed against the glass tracing out images. Never had he felt so happy. Each time his fingers moved across the blank page, he watched his pencil give birth to figure after figure. Every morning before he went to school his mother would give him candy to stop him from crying, which he would then secretly give to his teacher. If he could, he would give the whole world to the goddess who could make him happy.

Years passed with his eyes transfixed on the urban horizon. His eyes fluttered over thousands of darkened city windows, inspiring him to create people and imaginary worlds for each point of darkness. Soon came adolescence when all the teenagers would get together on Saturday nights, listening to music until their heads exploded. On one of those nights, as the old nightclub began to empty, he sat in the corner, his eyes bloodshot from alcohol. The walls and multicoloured lights of the dance floor framed a new window that awakened his dormant desires. In the centre of that window was a girl, no more than sixteen, dancing to the rhythm of the music. With each movement her very short dress revealed a trace of her white panties. Once again, his world was crushed by the opening of a new window, framed by a dazzling array of psychedelic lights. After many months of persistence, there came the glorious day when he finally won over the girl with the white panties. Together they moved in and out of tiny windowless lofts, but through it all there remained the constant desire to fill blank paper and canvas with hundreds of drawings and paintings. In time a little baby came and they had to move into a small apartment on the outskirts of the city. The window in the new apartment brought back the grey, bleak world of his youth. The horizon was cluttered with the silhouettes of factories and plumes of smoke rising from chimneys. In his new home, he placed a large canvas and drew guidelines on the glass, just like when he was a child, tracing and painting the sad city in grey. He placed a chalkboard on the wall for his son, who was growing little by little, so that he would also be imagining. The two of them spent many years in the room with three windows: that of the real which overlooked the smoke stacks and the factories, that of fantasy which he found on a blank page, and that which appeared on the dark surface of the chalkboard, where the powerful imagination of a young boy could emerge.

The drawings and paintings began to fill all the drawers and the piles of canvas grew so tall, there was less and less space left in that apartment. One day, those drawings and paintings began to bring money to the family and allowed them to move to a new place. It was close to the beach and allowed him to see the sky kiss the sea, but his eyes lost their ability to comprehend the vast distance. He had grown too accustomed to living trapped amidst blank canvas and paper, obsessed with turning the emptiness around him into thousands of images that were later published in different places. The window was the blank paper, the gateway that could transport him to imaginary universes and allowed him to live in one fantasy after another.

Luis Royo, sketch material work table He suddenly felt suffocated, but didn’t know why. He returned to his city, with the ludicrous desire to find an apartment in a tall building where he could rediscover the horizon of his childhood and rekindle his eyes. That new window filled him with peace, if only for a moment. The years dragged at the foot of the new window, but it didn’t restore his childhood dreams, so he continued to turn blank paper into window. The paper dreams continued to happen, and he spent more time lost in those dreams than outside of them. The true horizon became more and more blurry.

One morning he peered into a window that had never told him anything special before, the bathroom mirror. There, he discovered an aging man with grey hair and dark circles under his eyes. He packed his bags and moved to a warm, quiet beach where a distant sea awaited him. While he sat there, sketching on paper, his inseparable companion, he perceived the immensity of the horizon. It was the same horizon he discovered on his seventh birthday, which he lost so many years ago. He realised he was in front of a window again, an immense window of light in one of those unique corners. He saw the sky and sea for the first time. Even though he had looked at it hundreds of time before and from many different angles, he had never truly seen it. He was overwhelmed by the immensity of that window and put away his small windows of paper, and for a few moments, lost himself in the intoxicating horizon. He knew that from that moment on, he would always have doubts as to which window to look out of.

After this short story, which deals with the intimate life of an illustrator, we are left to confront the more difficult problem of explaining the use fullness, the intention, the evaluation, and the sentiment behind what we call illustration. In previous books I've mentioned my preference for calling it by its old name, ‘illumination’ as opposed to ‘illustration’. For this reason I used windows as metaphors to help you better understand the distinction. I’ve read hundreds of opinions about the meaning of art, I’ve listened to hundreds of artists discuss it, I’ve seen hundreds and hundreds of words describing the topic, from the coldest and most calculating to the most passionate. It´s truly an overwhelming subject.

What could one say regarding this topic that would make sense? I can only talk about a small white paper window that calls me and says: ‘What would you like me to show you? Open me up with your pencils and paints and tell me what you see.’ The truth is, it never shows me what I really want to see, or perhaps its does in a mischievous way, enticing me to open yet another window. What do theories matter or what they call art? All I know is that a blank window awaits me every morning on my drawing desk. If the boy in the window didn’t find it there every day, his tears would blind him. I also wanted to mention that it´s gratifying to see thousands of men and women that have also dedicated their time to converting a blank page into something more. What a passionate quest! The possibilities are infinite from the dispassionate Painting 135, to the emotional Child Eating Watermelon, or the most provocative Electric Chair. Art is not the type of subject where you can edit someone´s work by adding commas and periods, nor impartially discuss contrasts or similarities. There are only thousands of windows, and some which are quite magnificent.

- Luis Royo

MALEFIC TIME: 110 KATANAS (hardcover edition)
MALEFIC TIME: APOCALYPSE (hardcover edition)
PROHIBITED BOOK New Remastered Edition
DEAD MOON EPILOGUE (hardcover edition)
DEAD MOON Luis Royo with the collaboration of Rómulo Royo
MALEFIC New Remastered Edition
DOME Luis Royo & Romulo Royo
DARK LABYRINTH (hardcover edition)
SUBVERSIVE BEAUTY (paperback and hardcover edition / limited deluxe edition)
THE LABYRINTH TAROT (hardcover edition / limited deluxe edition)
FANTASTIC ART (hardcover edition / deluxe edition)
WILD SKETCHES Volume 1 / Volume 2 / Volume 3
CONCEPTIONS Volume 1 / Volume 2 / Volume 3
PROHIBITED BOOKS Volume 1 / Volume 2 / Volume 3/ Sketchbook
VISIONS (paperback and hardcover edition)
EVOLUTION (paperback and hardcover edition)
DREAMS (paperback and hardcover edition)
III MILLENIUM (paperback and hardcover edition)
SECRETS (paperback and hardcover edition)
WOMEN (paperback and hardcover edition)

Originele tekening(en)
Aantal items
Royo, Luis
Original acrílico - Track of the Wolf or Sand in the Wind
Jaar oudste item
Luis Royo - 17,50 x 23,50 cm - Original Firmado
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