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534297 Los(e)/Seite
Los 519
Norman Stansfield Cornish MBE (1919-2014) "Little Snow Scene" Signed, oil on board, 14cm by 20.5cmProvenance: The Stone Gallery, Newcastle-upon-Tyne The painting has a number of scratches across the surface. From the bottom of the window ledge lower left corner down into the centre of the street, a small area below this, through the figures to the centre of the painting, through the man's boots, to areas of the right hand side. Some very light surface dirt. See images.
Los 640
Dame Tracey Emin DBE, RA (b.1963)"Dragon Fly" (2010)Signed, inscribed and numbered 84/100, polymer gravure on Japan paper, 42.5cm by 39cm Provenance: Emin International Ltd., LondonSlight time staining to the paper. The piece is float mounted. The paper has a deckled edge. Areas to each corner where the tape has oxidised the paper. Cockling to the paper and handling creases in places. Creasing to the top right corner of the plate vertically approximately 4cm and to the left of this approximately 7cm to the right of the dragonfly and to the lower left of the plate. The odd tiny sporadic minor foxing spot. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 523
Norman Stansfield Cornish MBE (1919-2014)Man at a bar Signed, flomaster pen, 29.5cm by 20cmSlight time staining to the paper. The ink has faded throughout. Crease to the centre of the man's back. Crease lower left corner. Tiny foxing spot to the centre of the top edge. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 505
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Fever Van"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 44cm by 52.5cmTime staining to the paper, most noticeable to the margins. The odd tiny sporadic foxing spot also most noticeable within the margins. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 582
Bryan Pearce (1929-2007) “Three Boats” Signed, inscribed verso and dated 1992, oil on board, 40cm by 50cmProvenance: Belgrave, St Ives Some light surface dirt. Black mark to below centre of the left edge and one to the lower right of the sea. A tiny white area approx 0.5m in size approx 3cm from the right edge, this may be by design? The odd tiny speck of dirt.
Los 521
Norman Stansfield Cornish MBE (1919-2014)The artist's wife Sarah drying their son JohnSigned, oil on board, 49cm by 30cmSome light surface dirt. Otherwise in good overall condition.The slip is loose inside the frame and is not lining up as it should.The vendor's father was friendly with Norman Cornish and had many works in his collection.
Los 514
After Laurence Stephen Lowry RBA, RA (1887-1976)"Berwick-on-Tweed"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 55.5cm by 43.5cmVery slight time staining to the paper. Small sporadic foxing spots in places, particularly evident to the margins and in a line to the left side from the bottom margin all the way up into the church. Some light surface dirt and debris trapped under the glass. Not examined out of the frame. See images
Los 573
Henry Moore OM, CH, RBA, RBS (1898-1986) “Head” (1957/58) Signed, black crayon, 39cm by 30cmProvenance: Given to Mervyn Levy by the artist following the publication of his book "Drawing and Sculpture" in 1970 according to inscription verso Clark Art, CheshireHenry Moore is perhaps the most celebrated sculptor of the 20th century, and his monumental semi-abstract sculptures had a profound effect on the course of British Art. Achieving global recognition in his lifetime, Moore’s distinctive brand of modernism caused a British sculptural Renaissance.Moore was born in Castleford, a small mining town in West Yorkshire, in 1898. After initially training as a teacher, he served in the Army during the First World War. However, after being injured he was awarded a rehabilitation grant that afforded him the opportunity to study at Leeds School of Art before going on to the Royal College of Art in London.Whilst studying in London Moore became absorbed with so called ‘Primitive Art’ in the British Museum. Shying away from the Classical ideal, which was all-pervasive in Western Art, he instead drew inspiration from the imagery of the ancient world, and from African and Oceanic cultures which idolised the female/maternal figure.Moore began sculpting simple, powerful forms redolent of ancient objects, with a distinct focus on female figures and family groups. Close study of the natural world led Moore to create his abstracted figures, at once both alien and familiar, using organic shapes taken from a line of hills, a massive rock formation, or a sea-smoothed pebble on a beach. The abstraction of organic forms developed in parallel in the work of Barbara Hepworth, whom Moore had known since their days at Leeds School of Art.Having come under the influence of Pablo Picasso and Georges Braque in the 1930s, his work had taken on a darker edge with a greater degree of abstraction and more distorted forms. This was exacerbated by the outbreak of the Second World War, during which Moore became an official war artist and moved away from his characteristic female and maternal images as his primary focus. Moore created a powerful series of drawings of huddled figures in underground shelters, before returning to his hometown of Castleford to visit the colliery in which his father had worked to depict miners toiling at the coal face. These works were filled with a pathos and pain, which he later expressed in austere pieces such as his Helmet series. After WWII, Moore became very focussed on Helmet Head and Heads. During the 1950's he explored many varations on this subject (see lot 573). Slight time staining to the paper, especially to the outer edges. Slight cockling to the paper and handling creases to the outer edges. Brown thumb mark left of bottom edge by design? Possible pen mark diagonal from the left edge down to the right to the left of the head approximately 5cm. Small brown marks under the signature and below centre of right edge. The odd very tiny sporadic foxing spot in evidence. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 506
After Laurence Stephen Lowry RBA, RA (1887-1976)"Industrial Scene"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 37.5cm by 26.5cm (unframed)Slight time staining to the paper. Time staining to the mount. Some light surface dirt trapped under the cellophane. Not examined out of the cellophane.
Los 604
Kate Denton MRSS (b.1954) Horse head Signed and dated (19)97, numbered 2/6, bronze on a stone base, 41.5cm high (including base) Some light surface dirt. The odd chip to the base, mostly to the bottom of the corners and the odd small minor one down the sides of the corners. Otherwise in good overall condition.
Los 628
After David Hockney OM, CH, RA (b.1937)"The Chair" (1985)Signed, offset lithographic poster for Barnsdall Art Center, 98cm by 62cmProvenance: David Hockney donated the piece to a charity auction in the 1990's where the vendor acquired it.Slight cockling to paper. The odd handling crease. The work may have been rolled at some point as has creases throughout. There are areas of vertical creasing down the left of centre, below the at of at the Junior Arts Centre approx 6cm in length and sporadically in areas in a line above this up through the chair, see images. Pen marks lower left corner? Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 639
Dame Tracey Emin DBE, RA (b.1963) "Moth" (2010) Signed, inscribed and numbered 84/100, polymer gravure on Japan paper, 42.5cm by 39cmProvenance: Emin International Ltd., London The piece is float mounted. The paper has a deckled edge. Areas to each corner where the tape has oxidised the paper. Cockling to the paper and handling creases in places.Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 517
Fred Cecil Jones (1891-1956)"York"Signed and dated 1951 twice, pencil and watercolour, 33.5cm by 21.5cmSome very slight time staining to the paper. The odd very minor tiny sporadic foxing spot, e.g. to the sky left and right of the Minster. Some light surface dirt and debris trapped under the glass. Time staining to mount. Good colour depth.Chips and knocks to frame. Not examined out of the frame.
Los 605
Kate Denton MRSS (b.1954)"Suffolk Punch"Signed and numbered 3/12, bronze on a marble base, 25.5cm highSome light surface dirt. Variegated patina and surface by design. The left side of the horse's right ear is a bit jagged near the head, this is probably how it has been cast. The odd very minor tiny chip to the base. Otherwise appears in good overall condition.
Los 536
Sir William MacTaggart FRSE, RA, PPRSA (1903–1981) Scottish "La Logie" (1929) Signed, oil on canvas, 54cm by 74cm Provenance: The Collection of Donald McKay, Scotland On loan to Kirkcaldy Art Gallery & Museum Duncan R Miller Fine Arts, London Thence by descentExhibited: "William MacTaggart", Scottish National Gallery of Modern Art, Edinburgh, 1998 "Anne Redpath and the Edinburgh School", Duncan R Miller Fine Arts, London, 2004.no.1Born in Midlothian, MacTaggart was grandson of the leading Scottish landscape artist William McTaggart (1835-1910). Having studied at Edinburgh College of Art from 1918 to 1921, he later returned to the capital to teach between 1933 to 1959, before becoming President of the Royal Scottish Academy for five years. The artist drew inspiration from French artists such as Georges Rouault as well as the works of Edvard Munch, as well as being interested in the use of colour as a way of conveying emotion, using this passion to expressively depicted both landscapes and still lifes. Some light surface dirt. Slight stretcher shadow. Area of fine craquelure upper left side approximatley 3cm vertically within the strecther shadow and an area to the centre of the right stretcher shadow. Repair to a small hole upper right of the sky (see patch to the reverse). The canvas is very slightly loose on the stretcher. There is the odd small sporadic area of scattered fine craquelure, mostly within the pale aqua colour within areas of the sky, the white impasto of the waves, see images. The work is glazed and has some light surface dirt and debris trapped under the glass.
Los 500
After Laurence Stephen Lowry RBA, RA (1887-1976)"Crime Lake"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 48cm by 61.5cm (unframed)Slight cockling to the paper. Some light surface dirt and debris trapped under the cellophane. The odd tiny minor sporadic foxing spot in evidence to the margins. Not examined out of the cellophane.
Los 512
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Contraption"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 34cm by 31cmThe print has faded. Slight cockling to paper. The odd very minor tiny foxing spot. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 509
After Laurence Stephen Lowry RBA, RA (1887-1976)"The Football Match"Signed and numbered 536/850, with the Henry Donn blindstamp, a black and white reproduction, 26cm by 36cmSlight time staining to the paper, particularly evident to the margins. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. The odd minor sporadic foxing spot in places, especially to the areas of the lower margin, to the left of the central footballer's leg and to areas of the sky. Not examined out of the frame.
Los 638
Dame Tracey Emin DBE, RA (b.1963)"Tiny Golden Hearts" (2010)Signed, inscribed and numbered 84/100, polymer gravure on Japan paper, 42.5cm by 39cmProvenance: Emin International Ltd., LondonThe piece is float mounted. The paper has a deckled edge. Areas to each corner where the tape has oxidised the paper. Cockling to the paper, especially to the lower left edge down through her feet. The odd tiny minor foxing spot. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Los 503
After Laurence Stephen Lowry RBA, RA (1887-1976)"Station Approach"Signed, with the blindstamp for the Fine Art Trade Guild, a colour reproduction, 43cm by 52cm (unframed)Very slight time staining to the paper. Tiny sporadic scattered foxing spots in evidence, most noticeable within the margins and to the upper left of the sky. Small brown mark to the left of centre of the sky. Some light surface dirt and debris trapped within the cellophane. Not examined out of the cellophane.
Los 535
Kurt Schwitters (1887-1948) German Landscape Initialled, oil on board, 25cm by 30cmProvenance: Wantee Thomas Thence by descent Listed in the artist's catalogue raisonné. Exhibited: "Kurt Schwitters 2.1.82- 28.2.82", Abbot Hall Art Gallery, Kendal Kurt Schwitters (1887-1948) was one of the most influential European avant-garde artists of the twentieth century. Associated with Dada, De Stijl and Constructivism, he produced a wide plethora of work including paintings, collages, sound pieces, found object sculptures and installation works, along with journalism, criticism, poetry and short stories, resulting in an incredibly diverse oeuvre.Forced to flee Germany in 1937, Schwitters was interned as an enemy alien in 1940 on the Isle of Man. After being held with over 1000 other prisoners for over 15 months, Schwitters was finally released in December 1941, upon which he travelled to London where he met Edith "Wantee" Thomas when they both had rooms in the same lodging house. At the conclusion of WWII, the couple then went together to live in the Lake District, where Schwitters lived and worked until the end of his life. (Also see lot 600) Some light surface dirt. Two horizontal scratches from the centre of the sky down to the purple mountain on the right, this may be by design? Otherwise in good overall condition.
Los 595
Dame Eileen Rosemary Mayo DBE (1906-1994) "Circular Quay Sydney" (1964) Signed, mixed media, 43cm by 61.5cm (unframed) Provenance: Riverhouse Galleries, Brisbane, Australia Literature: "Shifting Boundries, The Art of Eileen Mayo", thesis, by Margaret Jillian Cassidy, no.154 We are grateful to Peter Vangioni, Curator, Christchurch Art Gallery Te Puna o Waiwhetū, New Zealand for his assistance in catagloguing this piece. Dame Eileen Mayo was a multi-talented artist; a printmaker, painter, illustrator, designer and author whose long career spanned the globe from England to Australasia, yet she never lost the primary focus of her creativity - depicting the natural world.As a young artist, she began establishing herself in London, and after training supplemented her income by modelling for notable British artists such as Duncan Grant, Dod Procter, Vanessa Bell and Laura Knight who helped her secure her first commissions. Indeed, one of Knight’s extraordinary portraits of her, “The Maiden”, sold at Tennants in 2015 for £33,000. With such illustrious friends and mentors, Mayo soon made a name for herself, particularly as a print maker, and became a significant part of the British art scene in the 1930s and 1940s.However, a divorce in 1952 sparked a major change for the artist. Following her father’s death in 1921, Mayo’s mother and sister had emigrated to New Zealand, and by the early 1950s her sister was living in Sydney. After her divorce, Mayo emigrated to Sydney, where she became a key member in Australia’s artistic reinvigoration. With a pressing need for money, Mayo taught at the National Art School and focused on commercial commissions, producing a body of work that included an iconic set of poster designs for the Australian National Travel Association and sets of stamps featuring the country’s flora and fauna.In 1962 Mayo moved to New Zealand. As she settled into her new home, she worked on a painting, "Warehouses, Sydney" (1963), based on drawings she had made of the old sandstone warehouses along the eastern side of Sydney Cove. The painting was later reproduced as a card for the Australian Mutual Provident Society (AMP), whose headquarters were in one of the new modern buildings that sprung up around the quay in the 1960s. According to a record in the National Library, Wellington, Mayo also designed the front cover of the AMP’s 1964 magazine which depicted four warehouses on Circular Quay, which had been demolished to make way for the building of a tower for the British Tobacco Co. (Australia) Ltd.The present work, “Circular Quay, Sydney” (1964) was sold by the Riverhouse Galleries in Brisbane but its whereabouts was lost, and it was listed in Margaret Jillian Cassidy’s thesis "Shifting Boundaries, The Art of Eileen Mayo" as location unknown.Sydney Cove was the site of the landing of the First Fleet in 1788 and was the point from which Sydney grew. The first wharfs were built in 1792, and Circular Quay (originally called Semi-Circular Quay) was constructed between 1837 and 1844 to become the central port for the city. As the city outgrew the cove, it was converted to a passenger ferry hub, and from the 1950s the stone warehouses were replaced with modernist buildings and the first skyscrapers in Sydney.In 1965 Mayo moved to Christchurch, where she would live for the rest of her life. She taught at the University of Canterbury, and served on the Print Council of New Zealand, all the while producing work that combined her sense of colour harmony, eye for design and in-depth research into her subject. Mayo had devoted her life to art, and continued to work until 1985, when arthritis overcame her. She was made a Dame in 1994 for services to art, just days before her death. Today, Mayo’s work is once more coming to prominence, and a major exhibition of her work was held in 2019 at the Christchurch Art Gallery. The work is unframed. Some light surface dirt. Slight surface scratch to the right of the cream arch on the second building from the left, the odd minor superficial surface scratch to the sky. Upper left of top edge to the left of the palm tree, extreme right of top edge between the palm tree and the corner approx 3cm. Some minor losses to the outer edges, perhaps were an old frame has rubbed? Slight crease to lower right corner. Small scratch to the brown centre of left edge. Small brown spot upper right of the sky to the right of the orange building's roof. See images.
Los 159
An early 20th century Steiff teddy bear with metal ear button, black shoe button eyes, light orange plush, sewn nose and later cloth pads, 12 1/2" long (Est. plus 24% premium inc. VAT)Condition Report: Pads replaced. resewn nose. Hair loss present. Repair to ankle. I can feel/hear the old growler mechanism inside, but it is not working. See images.
Los 42
A Victorian wax shoulder head doll with blue glass paperweight fixed eyes, closed mouth, light brown wig, fabric body, composite lower limbs and silk dress, 14 1/2" tall (Est. plus 24% premium inc. VAT)Condition Report: Some cracks present to the head and neck, but complete and appears structurally sound. Chip to fingers on one hand.
Los 133
A Bebe Jumeau bisque socket head doll, 1890, with blue glass paperweight fixed eyes, closed mouth, pierced ears, light brown wig, wood and composition jointed body, white lace dress and matching bonnet, red and black tick marks to neck, incised 2, 27" long (Est. plus 24% premium inc. VAT)Condition Report: Generally good, two hairline cracks behind left ear, minor piercing chip to one ear hole, lower arms repainted.
Los 59
A Simon & Halbig Kammer & Reinhardt bisque socket head doll with brown glass sideways glancing flirty eyes, metal sleeping lids, open mouth, applied teeth, pierced ears, brown wig, wood and composition jointed body, light pink dress and shoes, numbered 55, 22" long (Est. plus 24% premium inc. VAT)Condition Report: Fire crack behind right ear, wear and possible shallow chipping to left ear piercing, but otherwise good.
Los 1349
A delicate and unusual, probably Oriental, bowl of six-lobed form constructed similarly to Cloisonné work with fired polychrome glass details colourfully illustrating in six panels Peonies and other flowering plants. The technique differs from traditional Cloisonné work in not being attached to a metal background, thus permitting the light to pass through the translucent areas. 6 1/4" diameter, 3 1/8" high. Some losses.
Los 125
Artist: Georges Braque (French, 1882 - 1963). Title: "Composition". Medium: Original color collotype. Date: Composed 1914. Printed 1962. Dimensions: Overall size: 15 5/16 x 12 in. (389 x 305 mm). Image size: 14 3/4 x 11 in. (375 x 279 mm).Pricing: Starting Price: $400 Reserve Price: N.A. Auction Sale Price Estimate: $600/700Lot Note(s): Signed in pencil with the initials, lower right; annotated in pencil, lower left. An artist proof aside from the regular edition. Light cream wove paper. Ample margins. Fine impression. Very good to fine condition. Comment(s): Authorized by and printed under the supervision of Braque shortly before his death. This print, from a limited edition, was not issued separately; rather, in a signed and numbered portfolio. Braque applied a complimentary signature to several AP, TP, and numbered impressions. Image copyright © Artists Rights Society (ARS), New York / ADAGP, Paris. [21776-3-400-NA]
![Artist: Andy Warhol (American, 1928 - 1987). Title: "The Witch [announcement]". Medium: Color offset lithograph. Date: Compos](https://cdn.globalauctionplatform.com/4ac20cf5-423c-4768-b66a-b1b901843064/ce8c4dea-65d0-4470-ac8c-b1e9010a2391/468x382.jpg)
Los 644
Artist: Andy Warhol (American, 1928 - 1987). Title: "The Witch [announcement]". Medium: Color offset lithograph. Date: Composed 1981. Dimensions: Overall size: 6 7/8 x 6 7/8 in. (175 x 175 mm). Image size: 6 7/8 x 6 7/8 in. (175 x 175 mm).Pricing: Starting Price: $600 Reserve Price: N.A. Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in black marker, center left. Edition unknown, presumed small (250?). Light cream wove paper. Printed to the edge of the sheet. Fine impression. Fine condition. Literature/catalogue raisonne: Paul Marechal, “Andy Warhol Ephemera…Catalogue Raisonne, 1950-1987.” Lyon, France: Les amis du Musee de l’Imprimerie, 2018, Section 8c, no. 36(a); cf. Feldman/Schellmann II.261. Comment(s): This "mini portfolio" card/announcement is based on a photograph of Margaret Hamilton by Warhol. The image was issued as one of the silkscreens in Warhol's famous 'Myths' portfolio, one of his most sought after collections. Our example is one of the set of 10 announcements included in a purple portfolio wrapper with a separate card containing information about the series (folder and information card not part of lot). Published by Ronald Feldman Fine Arts, Inc., New York City. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28481-1-600-NA]
Los 98
Artist: Charles Schulz (American, 1922-2000). Title: "Charlie Brown and Snoopy Playing Baseball". Medium: Marker drawing on paper. Date: Composed 1970s. Dimensions: Overall size: 9 1/8 x 10 3/8 in. (232 x 264 mm).Pricing: Starting Price: $1,600 Reserve Price: N.A. Auction Sale Price Estimate: $2,000/2,500Lot Note(s): Signed lower center. Light cream wove paper. Very good to fine condition. Comment(s): Schulz, the creator and artist of "Peanuts," became wealthy by using his childhood insecurities and failures as material for his comic strip. Charlie Brown, the strip's likable loser, shared more than a first name with his creator and was inspired by Schulz's bittersweet memories of his Midwestern boyhood. Image copyright © Peanuts Worldwide LLC. [30670-2-1600-NA]
![Artist: Beatrix Potter [imputée] (English, 1866-1943). Title: "Jeremy Fisher Eating a Butterfly Sandwich". Medium: Original w](https://cdn.globalauctionplatform.com/4ac20cf5-423c-4768-b66a-b1b901843064/62788390-98bc-4a6b-91bd-b1e900312aaf/468x382.jpg)
Los 274
Artist: Beatrix Potter [imputée] (English, 1866-1943). Title: "Jeremy Fisher Eating a Butterfly Sandwich". Medium: Original watercolor with pen and ink. Date: Composed c1928. Dimensions: Overall size: 9 9/16 x 7 5/8 in. (243 x 194 mm).Pricing: Starting Price: $800 Reserve Price: N.A. Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Signed in watercolor with the initials, lower right. Light cream wove paper. A finely drawn work. Very good condition; very minor foxing verso, not visible recto; overall the work presents very well. Provenance: the Artist, gifted to Joy Brownlow, who in turn gifted it to Marjorie H. Hiley, from whom it was acquired by our consignor. Brownlow, known as ‘Brownie,’ was the County Camp Advisor for the Windermere Girl Guides, who arranged regular visits to Potter's properties in the Lake District for camping and admiring her work. Potter frequently gave the Guides autographed copies of her books to give as prizes in their competitions, and joined in their activities while on the properties. Hiley, of Kendal, South Lakeland District, Cumbria, took over from Brownlow as captain of the Guides in 1947 and remained leader until she retired 30 years later. Comment(s): A splendid iconic drawing, the original work having appeared in 1906 in “The Tale of Mr. Jeremy Fisher.” Potter revisited the composition a number of times over the years as a gift to family and friends. Helen Beatrix Potter was an illustrator in watercolors and author of children's books including “The Tale of Peter Rabbit” (1902), “The Tailor of Gloucester” (1903) and “The Tale of Benjamin Bunny” (1904). She became internationally famous for her stories that 'humanized' animals such as Mrs. Tiggy Winkle, the hedgehog, and the garden thieving Peter Rabbit. This image is now in the public domain. [29799-1-800-NA]
![Artist: Robert Delaunay (French, 1885 - 1941). Title: "Portrait of Madame Heim [study]". Medium: Crayon and colored pencil dr](https://cdn.globalauctionplatform.com/4ac20cf5-423c-4768-b66a-b1b901843064/518858be-016e-4cad-af01-b1e90109aeec/468x382.jpg)
Los 486
Artist: Robert Delaunay (French, 1885 - 1941). Title: "Portrait of Madame Heim [study]". Medium: Crayon and colored pencil drawing. Date: Composed c1926. Dimensions: Overall size: 12 3/8 x 9 9/16 in. (314 x 243 mm).Pricing: Starting Price: $1,600 Reserve Price: N.A. Auction Sale Price Estimate: $2,000/2,500Lot Note(s): Signed lower right. Light cream wove paper. Very good condition; some edge toning. Comment(s): Delaunay painted a series of portraits of Madame Jacques Heim during the 1926-1927 period. Image copyright © The artist or assignee. [27404-2-1600-NA]
Los 40
Artist: Matt Groening (American, b.1954). Title: "Bart Simpson's Slingshot". Medium: Original marker drawing on paper. Date: Composed c2009. Dimensions: Overall size: 7 x 4 3/8 in. (178 x 111 mm).Pricing: Starting Price: $800 Reserve Price: N.A. Auction Sale Price Estimate: $1,000/1,200Lot Note(s): Signed lower right. Drawn on light cream wove paper. Very good to fine condition. Comment(s): Matthew Abram "Matt" Groening is an American cartoonist, screenwriter, producer, animator, author, musician, and voice actor. In addition to “The Simpsons” he is the creator of the comic strip “Life in Hell” (1977–2012) as well as two successful television series, “The Simpsons” (1989–present) and “Futurama” (1999–2003, 2008–2013). Image copyright © Matt Groening. [30189-1-800-NA]
![Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Dibujos de Picasso - Barcelona [Sala Gaspar]". Medium: Original lithogr](https://cdn.globalauctionplatform.com/4ac20cf5-423c-4768-b66a-b1b901843064/15736848-e5b7-42fe-837b-b1e90030d8aa/468x382.jpg)
Los 149
Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Dibujos de Picasso - Barcelona [Sala Gaspar]". Medium: Original lithograph. Date: Composed 1961. Dimensions: Overall size: 27 5/8 x 19 3/4 in. (702 x 502 mm). Image size: 23 x 18 1/4 in. (584 x 464 mm).Pricing: Starting Price: $600 Reserve Price: N.A. Auction Sale Price Estimate: $800/1,000Lot Note(s): Signed in pencil, lower right. Edition of 500. Light cream wove paper. The full sheet. Very fine impression. Very good condition; a few dimples and a few fox marks along left margin, else fine. Literature/catalogue raisonne: Bloch 1292; Czwiklitzer 43 (1970 ed.);Czwiklitzer 44 (1981 ed.); Rodrigo 108; Mourlot 337. Comment(s): Poster created (and exhibition held) during Picasso's lifetime, with Picasso authorizing its printing. Printed by Foto-Repro S.A., Barcelona. Image copyright © Artists Rights Society (ARS), New York. [27398-5-600-NA]
![Artist: Andy Warhol (American, 1928 - 1987). Title: "Black Rhinoceros [offset lithograph]". Medium: Original color offset lit](https://cdn.globalauctionplatform.com/4ac20cf5-423c-4768-b66a-b1b901843064/468c0465-cdb6-49b0-9b51-b1e900309f6d/468x382.jpg)
Los 59
Artist: Andy Warhol (American, 1928 - 1987). Title: "Black Rhinoceros [offset lithograph]". Medium: Original color offset lithograph. Date: Composed 1983. Dimensions: Overall size: 9 1/16 x 7 3/16 in. (230 x 183 mm).Pricing: Starting Price: $1,200 Reserve Price: N.A. Auction Sale Price Estimate: $1,800/2,000Lot Note(s): Signed in silver marker, lower margin. Edition unknown, presumed very small. Very light cream wove paper. Ample margins. Fine impression. Fine condition. Literature/catalogue raisonne: cf. Feldman/Schellmann II.301. Provenance: Private collection, Sweden, thence to our consignor. Comment(s): Published for an important exhibition of Warhol’s “Endangered Species” prints. The regular edition silkscreens were printed by Rupert Jasen Smith, New York City and published by Ronald Feldman Fine Arts, Inc., New York City. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [29244-1-1200-NA]
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534297 Los(e)/Seite