§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Light box with Avion and Avis inscribed photographs/slides PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 7½ x 6 x 2.80in. (18 x 15 x 7cm) Appears to contain original battery, this has leaked inside. Have not had working. Slight wear to the outer case.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
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Marko93 (né en 1973) Unity 2014 Peinture aérosol sur toile signée et datée en bas à droite 60 x 81 cm D’abord influencé par les graffeurs américains, Marko93, originaire de Saint-Denis, développe un style alliant figuration engagée et calligraphie abstraite, tout en affinant sa technique du « kalligraffisme ». À la fin des années 1980, fasciné par les traînées lumineuses laissées par les feux de voiture, il pose les bases du « light painting » qu’il contribue grandement à populariser. Mise à prix: € 400
CAPE OF GOOD HOPE 1855-63 Perkins Bacon ptg, 6d pale rose-lilac, 6d deep rose-lilac, 6d slate-lilac and 6d slate-purple (SG 7, 7a, 7b, 7c) all fine three margin examples, first two used by light triangular obliterators, slate-lilac by part Port Elizabeth cds, slate-purple by part barred oval numeral, SG 7a with 1947 RPS Cert, SG7d with 1994 RPS Cert, a most attractive group, cat £2,500
CAPE OF GOOD HOPE 1861 (Feb-April) laid paper, 4d deep bright blue ""wood-block"" (SG 14c) traces of ironed-out creasing, three close margins except just touched at each lower corner, neatly used by light triangular obliterator, an attractive representative example of this rare shade, cat £5000
TRINIDAD & TOBAGO 1913-23 5s deep purple and mauve and £1 deep yellow-green and carmine, watermark MCA (SG 155a, 156a) former a few shortish perfs, used by neat Port of Spain cds for De 31 18, latter light creasing and a couple of other small imperfections, this used by large part reg cds, cat £385
TURKS ISLANDS 1881 (1 Jan) Setting 1, 4 on 6d black, surcharge type 28 (SG 42) fine used by light ""T.I."" obliterator, RPS Cert (1930) which rather amusingly states ""after consulting a high authority, that the stamp is genuine"", with a later pencil annotation to effect that this authority was King George V (unverified!), cat £350
NEW ZEALAND New Zealand: Collection on pages incl 1855-57 2d dull blue, 1857-63 no wmk 1d dull orange and 6d pale brown, 1862-63 pelure paper 2d ultramarine, imperf, later perf Chalons to 1s, 1874-78 incl 2s rose, 1898-1907 pictorials to 5s, 1906 Christchurch Exhibition set, 1913 Auckland Exhibition 3d and 6d,1925-30 12s6d blackish purple postal fiscal on Cowan paper (SG F140) fiscally used, 1926-34 Admiral 2s and 3s, both Jones and Cowan paper issues, 1931 ""Smiling Boys"" set, 1931-40 12s 6d deep plum postal fiscal, 1899 postage dues to 2s carmine and green, 1915-27 8d red-brown official, 1927-33 2s light blue and 5s green officials, Life Insurance 1891-98 to 1s rose, also small range of Aitutaki, Penrhyn and Niue, last incl vals to £1 (345)
ANTIGUA 1879 2½d red-brown, variety large ""2"" in ""2½"" with slanting foot, type `A` (SG 19a) also 1882 watermark crown CA 2½d red-brown and 1884-87 2½d ultramarine with similar variety but type `B`, with damaged ""NN"" (SG 22b, 27a) first re-perforated at left and light creasing, this used by `A02` which leaves variety clearly visible, second lightly creased and small surface rub, this and 2½d ultramarine each used by neat Antigua cds, an extraordinary trio, despite imperfections, cat £4300
SOUTH AUSTRALIA 1886-96 Inscribed ""POSTAGE & REVENUE"", £20 claret, perf 10 (SG 208) some creasing at top, used by light part cds it foot, this with ""G.P.O."" visible and possibly year date `98`, this stamp is unknown postally used, RPS Cert (1967) which states ""it is genuine, probably postmarked `par complaisance`
SOUTH AUSTRALIA 1902-04 Thin ""POSTAGE"" at top, perf 11½-12½, 1s brown with ""POSTAGE"" and ""ONE SHILLING"" in red brown (SG 275c) light creasing and small surface fault at lower right, used by crisp ""PARCEL P.O. ADELAIDE/SA"" cds for De 20 02, a good looking example of this very scarce stamp, RPS of Victoria Cert (2001), cat £950
VICTORIA 1850-53 Ham printing, original state of die, 1d orange-vermilion (SG 1) light horizontal crease, touched at a couple of points but generally clear margins and very fresh colour, used by central `1` butterfly cancel, an attractive and very collectable example of this classic rarity, cat £10,000 (with 1992 RPS of Victoria Cert)
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