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Click here to subscribeSalvador Dali. 1954. The Game - Starfish n°4. Glazed terracotta, hand painted and enamel. Signed "Dali" on the front. Stamped on the back "1954 Maurice Duchin all rights reserved". - Weight: 630 g - Sizes: L 20 mm - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: Salvador Dali
Salvador Dali. 1954. The Game - The Doves n°5. Glazed terracotta, hand painted and enamel. Signed "Dali" on the front. Stamped on the back "1954 Maurice Duchin all rights reserved" - Weight: 630 g - Sizes: L 20 mm - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: Salvador Dali
JULIA Robert and Salvador DALI. Photography under altuglass. Salvador Dali and Gala in the horse-drawn carriage in Perpignan on August 27, 1965. - Weight: 800 g - Sizes: H=300 mm L=400mm - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: JULIA Robert et Salvador DALI
JULIA Robert and Salvador DALI. Photography under altuglass. Salvador Dali and Gala in the horse-drawn carriage in Perpignan on August 27, 1965 - Weight: 800 g - Sizes: H=300mm L=400mm - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: JULIA Robert et Salvador DALI
AN EARLY ANTI-SOVIET POSTER, 1919CHTO OBESCHCHALI I CHO DALI NARODU BOLSHEVIKI [What the Bolsheviks Promised the People and What they Delivered], (Odessa: Odesskoe otdelenie otdela propagandy, 1919), chromolithograph; 70.5 x 55 cm (27 3/4 x 21 5/8 in.), framed dimensions: 76.5 x 61 cm (30 1/8 x 24 in.)
DALI Louis (1905 - 2001 Frankreich) "Le Lapin Agile", Blick in eine Pariser Straße, linkerhand ein rotes Haus, flankiert von wenigen Bäumen, dahinten größere Gebäude, Ölgemälde auf Leinwand, signiert unten rechts, 50x60cm, R *Le Lapin Agile ist ein kleines traditionsreiches Pariser Kabarett auf dem Montmartre-Hügel, in dem seit dem 19. Jahrhundert in einem familiären Rahmen Kleinkünstler ihre eigenen Gedichte und Lieder vortragen. Dali malte dieses Sujet mehrfach, da er als Künstler der Künstlergruppe Montmarte dort viel Zeit verbrachte.*
λ SALVADOR DALI (SPANISH 1904-1989) PARADISE CANTO 31 (FROM DIVINE COMEDY) Etching on silk, a special edition in sepia in an edition of 3 Inscribed along the lower edge 25.5 x 20cm (10 x 7¾ in.) Condition Report: There appears to be some light discolouration, otherwise, in apparently good condition. Under glass and unexamined out of frame. Condition Report Disclaimer
MIKULÁŠ MEDEK (1926-1971)Sorrow of the IVth Inquisitor 1965 signed and dated 65; signed, titled and dated 65 on the reverse oil and enamel on canvas 129.5 by 180.5 cm. 51 by 71 1/16 in. Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by Eva Kosáková Medková.ProvenanceArt Centrum, Prague The University of Sydney, Sydney (acquired directly from the above in 1968)ExhibitedBerlin, Akademie der Künste, Tschechoslowakische Kunst der Gegenwart, 1966, no. 109Stockholm, Sveagalleriet, Tjeckoslovakisk nutidskonst, 1967, no. 68Prague, Art Centrum, Mikuláš Medek: Peintures, Paintings, Bilder 1958 - 1967, 1968Sydney, Farmer's Blaxland Gallery, Power Bequest Exhibition 2, 1969Melbourne, National Gallery of Victoria; Sydney, Art Gallery of New South Wales; Adelaide, Art Gallery of South Australia, The Power Survey of Contemporary Art, 1972LiteratureVratislav Effenberger, Petr Král and Stanislav Dvorský (Eds.), Surrealistické východisko (1938 - 1968), Prague 1969, n.p., illustrated in black and white (incorrectly titled and dated)Bohumír Mráz, Mikuláš Medek, Prague 1970, p. 146, no. 72, illustrated in colourVratislav Effenberger and Antonin Hartmann (Eds.), Mikuláš Medek, Prague 2002, p. 107, illustrated in colour (incorrectly titled)Widely considered as one of the most important representatives of Czech modern painting in the post-war period, Mikuláš Medek is an artist who only recently received the global attention and recognition he deserves. Having died in 1974 at the age of only 47 years of age, the artist became a legend to his Czech contemporaries during his lifetime and deeply influenced the development of Czech modern art. A free spirit through and through, Medek was in permanent conflict with the communist dictatorship in Czechoslovakia and ended up on the index several times. As a result, he was not allowed to exhibit, and public commissions were denied to him for much of his lifetime. Despite these limitations Medek developed a unique style, divided in three distinct creative periods, in an environment where Socialist Realism was the only acceptable art form and in a country that tried to expunge modern art, thought and international artistic the exchange. Sorrow of the IVth Inquisitor from 1965 is the first work of a cycle of 'Inquisitor' works and was executed in a rare time window where the artist was able to exhibit nationally and internationally. Having worked in secret for years under the oppression of the communist regime, the later 1960s between 1963 and 1969 presented a rare window of greater artistic freedom and exchange with Europe and the world. The Inquisitor cycle is an ironic take on Medek's critics and the censors in his life. Coming to the market for the first time in over half a century the present work has been widely exhibited and published. It was acquired by the University of Sydney in Australia only shortly after the work's execution in 1968 and has remained in the collection ever since. The sale will benefit the university's art collections. The present work shows three imposing abstract figures against a stark black background. The spectator is confronted with an intense, emotionally charged scene full of mystical energy and symbolism but also with a spiritual force reminiscent of a catholic altar piece. Three heads balance on sharp, neck like spikes tinted in bloody dark kraplak. Long lashes surround thin lines of unfathomable eyes, and the central figure bears a dark mouth teeming with sharp teeth. Medek used synthetic enamel, a deliberately modern medium, along with oil paint and varnish to create a shiny supple texture. Slashing and gauging the surface with palette knives, spatulas and brushes and layering the enamel and paint on thickly, Medek created a rich, organic, almost skin like texture. Whilst the three Inquisitors in the present work are the art historians Frantisek Smejkal and Vera Linhartova alongside the artist's wife Emila Medkova, the identity of the fourth, referenced in the title, remains unknown. Mikuláš Medek was born in Prague on 3 November 1926 to a prominent artistic and intellectual family. He was the son of the writer and officer Rudolf Medek, the grandson of the impressionist painter Antonín Slavíček and the brother of the music theorist and dissident Ivan Medek. He studied at the State School of Graphic Arts, at the Prague Academy of Fine Arts under the tutelage of Vlastimil Rada and at the College of Applied Arts in the studio of František Muzika and František Tichy. Initially influenced by the rich Surrealistic tendencies in Prague and artists such as Max Ernst and Salvador Dali, he later became one of the leading exponents of informal and non-figurative painting, despite living under an oppressive regime that considered his work to be subversive. Medek worked in private for much of his life, hiding his paintings from Czechoslovak State Security forces, but he was well known to, and greatly influenced a group of likeminded artists and intellectuals. At the end of the 1950s, Medek turned away from figurative painting and concentrated on abstraction, only to return to more figurative subjects towards the mid-1960s. Throughout his oeuvre Medek worked with the theme of the human condition, destiny and the endangerment of human existence and dignity. He created large-scale works for church interiors in Senetářov, Kotvrdovice and, probably the best known, in Jedovnice in Moravia. Today Medek's works are held in a number of Czech and international public institutions as well as in private collections. After a comprehensive exhibition of his work in Prague's Rudolfinum in 2002 and a major retrospective exhibition at the National Gallery Prague in 2020-21 there is finally increased international interest in his works which only rarely come up at auction. Mikuláš Medek continually strove for creative freedom in an age hostile to intellectual liberty and modern art and rightfully occupies a leading position in the cultural history of Post-War Czechoslovakia.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Vinyl - Soul / Funk - Over 80 Original 12” singles to include: Paapa Jay - Set You Up (1985, UK Original 1st Press 12”, Paapa Jay Records, Paapa Jay 1) EX+ (appears unplayed), Bo Kool / Funk Masters - (Money) No Love / Love Money (1980 USA Original 1st Pressing purple vinyl 12”, Tania Music Records, TAN 001) EX, Eddie Capone’s Treatment Featuring Diane Jones - I won’t Give You Up (1985, UK 1st pressing 12", Treatment Records, SOB 004) EX (minor pen marks on back) / EX- (looks unplayed but has a mild storage warp NAP), Jazzy Dee - Get On Up (1983 Original USA 1st pressing 12”, Laurie records, DM 503) EX (Still in shrink)/ EX (appears unplayed). Wild Sugar (TS 2004), Zalmac (TS 2013) (still sealed), The Night People (TS 2001), Live (TS 2006), Johnny Harris (SSD 4216), Paul Lewis (S 4214), Modern Sound Corporation (208), Jimmy “Bo” Horne (SSD 4218), Willie “Beaver” Hale (451), Uncle Louie (143), Eddie Daniels (105), Chi-Lites (414), Gail Eason (142), T-Connection (24), Anita Ward (124), Elijah John Group (1979, K 5102), Francis Simone (1979, BC 4002), Aprpegio (1979 PDD 515), Mass Production (1978, DK 4707), Slave (1978, DSKO 120), Mick Jackson (1978, DSKO 141), Universal Robot Band (1977, RG 216), Mantus (1979, SM 501), Bambu (1979, Z 500), Con Funk Shun (1977 PROMO, MK 42), Atmosfear - Motivation (DAZZ 2), Touch - Love Something Special (DAZZ 14), Antony Anthoniou - Lifeline (DAZZ 15), $pencer Jone$ - How High (DAZZ 16), Antoniou - Sound On Sound (DAZZ 17), Dave Chambers - Don’t Let It Go To Your Head (DAZZ 19), Daddy D. & Collusion - Party People (Say Ho !) (DAZZ 42), Lo-Ren-Zo (1984, Kaliph Records, KL 112784), Barbara Fowler (1984, Radar Records, RDR 12016), Parris (1980, Brunswick Records, D 214), Barbara Roy (1987 PROMO, RCA Records, 5943-1-RDAC), Kenia (1987, PROMO, Zebra Records, ZEB 23728), Gary’s Gang (1982, Radar Records, RDR 12000), Young & Company (1985, The Sound Of London Records, IMPORT 1), Kinkina (1982, Profile Records, PRO 7008), The Gap Band (1982, Total Experience records, TED 704), J. Walter Negro And The Loose Jointz (1981, Zoo York recordz, 4W9-2473), Candi Staton – Young Hearts Run Free (remixes) (1999, France 12” 1st test pressing, Absolute Sound Records, AS 192675-1 ), Wickett (1983, Mr T. Records, MR. T 1002), Dawnn (1984, Dalmatian Records, DALI 1001), Mascara (1984, Oh My ! Records, OM 4005), Major Lance (1982, Kat Family records, 4Z9 03025), Robert White Paris Records, PRS 0006), Vicky “D” (1981 Sam Records, S-12343), Marc Anthony Thompson (1984 PROMO, Warner Bros. PRO-A-2195), Sylvia Bennett (1985, The new York Music Company, NYMD 1204), New York Citi Peach Boys (1982, Island Records, 0-99928), Mantus (1980, SMI Records, SMI 12-405), Disco Melody (1980 RED VINYL, K.Y. Records), Al McCall (1984, Profile Records, PRO 7054), Tony Lee (1985, Critique Records, CR 8510), Johnny Chingas (1982m, Columbia, 44-03480), Neecy Dee (1985, TNT Records, PAL 7067), Slim (1982, D.E.T.T. Records, RC 502), Nini (1987, Parliament Records, WEG 1000) still sealed, Nijel (1982, Fantasy Records, D-211) still sealed, Transit (1983, Storm Records, ST 519), Michael Shamblin (1984, Warrior Records, WR 1-010), War (1984, Coco Plum records, CCP-1001), Barbara Joyce (1984, LuLu Records, LULU 2000), Colors, (1984, Power Light Records, PL 1900), Flakes (1980, Magic Disc Records, MD 1980), People’s Choice (1981, West End Records WES 22133), Wish (1983, Blue Records,10013), Ebo (1985, Domino Records, D 8903), J. Gayle Gaymore (1982, Alton Records, AL 1512), Ray Parker & Raydio - It’s Time To Party Now (1980, ARIST 12380), The Jackson Sisters I Believe In Miracles (1987, URBX DJ 4 promo), Brothers Johnson - Stomp (Re-mix)( 1980, STOMP 1, promo), Air Power - Be Yourself ( 1979, AVISL 102), Yvonne Gage - Lover Of My Dreams (1984, Belgium, BMC 3603), The Hudsons - Show Me You Care (1982, test pressing, STR A13-2711), Funk Masters - You Can’t Make Me Cry (Anymore) (1981, TAN 002), Keywi - Let’s Get It Right (1983, VS 623-12 + press release), Marianne Chase - Love Amnesia (1980, D DEE X 4), Dr. York - Shake ’N’ Skate (1981, GP110T), J. Blackfoot - What You Did To Me Last Night (1983, ALES 126), Roundtree - Hit On you (1982, VS 506-12), Sharon Brown - Love Don’t Hurt People (1982, VS 535-12), Beverley Skeet - You Can’t Say No (1985, DAZZ 39 ), Hudson People - Boy Scout (1980, 12 BP 350), Linda Taylor - Roberto Who ? (1981, GP 3012). Taco (1982, RCAT 284). Condition varies, but including many Unplayed examples
Balakian(Nona) and Simmons(Charles) The Creative Present, Doubleday and Company Inc. 1963, from the Library of V.S.Pritchett, inscribed to V.S.Pritchett from Nona Balakian, Rose(Billy) Wine Women and Words, Illustrated by Salvador Dali, Reinhardt and Evans, 1st Ed. 1949, Ex-Libris sticker for E. Leslie Angel, Spender(Stephen) The Creative Element, Hamish Hamilton,1st Ed. 1953, inscribed to Rosemund Lehmann from Stephen Spender, Ex-Libris sticker for Tony M. Chance, newspaper articles glued into book, Mabey(Richard) Selected Writings 1974-1999, Chatto and Windus, 1st Ed. 1999, authors signature glued into book, newspaper articles glued into book, Miller(Arthur) Echoes Down the Corridor Collected Essays 1944-2000, Methuen, 2000, authors signature glued in, newspaper articles glued into book, Highsmith(Patricia) Nothing That Meets the Eye the Uncollected Stories, Bloomsbury, 1st Ed. 2005, Type written and signed note from author glued in, Fraser(George Macdonald) The Lights on at Signpost, HarperCollins, 2002, signed bookplate glued to front cover fly-leaf page, Eagleton(Terry) Figures of Dissent, Verso, 1st Ed. 2003, authors signature glued to front cover fly-leaf page, Steiner(George) Grammers of Creation, Faber and Faber, 1st Ed. 2001, authors signature glued to main title page, & Hogart(Richard) Between Two Worlds, Aurum Press, note from author glued to front cover inside page(10)
Dali, Salvador: (1904 Figueres 1989). Espeluznante columna concreta. Blatt 17 aus der Folge "Les Caprices de Goya de Dali". Kaltnadelradierung auf Heliogravur mit Pochoir, 1977. Blgr. 45 x 30,5 cm. Mit Bleistift bez. "Dali", num. u. mit den Namensz. im Druck. - Michler/L. 864. - Ex. 8/200. - Ob. li. im w. Rd. kl. Fleck.
Schmied,W.: Nach dem Surrealismus. Mit einem Text von Wieland Schmied sowie 13 Orig.-Graphiken unter Passepartouts von Salvador Dali, Peter Ackermann, Hans Bellmer, Erich Brauer, Uwe Bremer, Jorge Castillo, Johnny Friedlaender, Ernst Fuchs, Alfred Hrdlicka, Fritz Janschka, André Masson, Friedrich Meckseper und Bernard Schultze. Ffm., Bln. u. Wien, Propyläen 1972. Imp.Fol. Lose Bl. in blauen Olwd.-Decken sowie Olwd.-Kass. (Angeschmutzt, etw. beschabt., best.). E. 41/80. - Die Orig.-Graphiken sign. u. num. (Friedlaender 41/150, Janschka 41/160), tls. dat., im Impr. num. - Die silbernen Passep. tls. läd. - Loose fol. in blue cloth covers as well as cloth. case. (Soiled, somewhat scuffed, best.). E. 41/80. - The original prints signed and numbered, some dated. - The silver passep. partly damaged.
Dalí, Salvador. - Dante (Alighieri). La Divine Comédie. L'Enfer. Le Purgatoire. Le Paradis. 6 (je 2 doppelte) Titelblätter und 100 Original-Farbholzschnitte (33 x 26,5 cm; Plattengröße: 25,5 x 18,2 cm) von Salvador Dalí unter Passepartout in 3 farbigen OKassetten (gering fleckig). Paris, Editions d'Art Les Heures Claires, o.J. (1963).Vgl. Monod 3398. Löpsinger 1039-1055. - Eines von 350 Exemplaren der Vorzugsausgabe sur vélin pur chiffon de Rives "auxquelles on a ajouté: une suite en couleurs des illustrations - une décomposition des couleurs d'une illustration" (Gesamtauflage: 4765). Die Illustrationen zu Dantes Göttlicher Komödie gehören zu den schönsten Buchillustrationen Salvador Dalís (1904-1989). Mit ihnen schuf der Künstler ein Malerbuch ersten Ranges, das die Verse des Dichters in tiefenpsychologischen Seelenlandschaften voller Licht und Größe durchdringt. - "Un des 350 exemplaires sur vélin de Rives en 12 volumes: 6 volumes avec les textes et les illustrations et 6 volumes enrichis d'une décomposition des couleurs d'une planche et d'une suite en couleurs des 100 planches." - "Dali himself, saw this work as one of the peaks of his creative powers." (vgl. Cat. Dexia, exposition Dali, Namur, juin-juillet 2005). - Nahezu tadelloses Exemplar.
Dali, Salvador (1904 - 1989 Figueras/Spanien)"Aparte las glándulas salivares"; aus der Serie Les Caprices de Goya de Dalí, 1977; Kaltnadelradierung; sign., num. 45/200; 39 x 31 cm; hinter Glas gerahmt (42 x 31,7 x 1,5 cm); Lit.: WVZ Michler/Löbsinger Blatt 6 von 80 Kaltnadelradierungen auf Heliogravure; S. 252
After Salvador Dali (1904-1989) - A contemporary oil on canvas painting of Dali's piece entitled 'Slave Market with the Disappearing Bust of Voltaire'. Unsigned. Measures approx; 62cm x 97cm diameter. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
A box of miscellaneous books, to include Bewick, Thomas: My Life, Wyss, Johann: The Swis Family Robinson, Verne, Jules: The Mysterious Island, Longfellow, Henry Wadsworth: The Song Of Hiawatha, Lee, Harper: To Kill A Mocking Bird, Twain, Mark: A Conneticut Yankee In King Arthur's Court, Harte, Bret: Tales Of The Gold Rush, Dickens, Charles: American Notes Pictures From Italy And A Child's History Of England, Zangwill, Isreal: We Moderns, Adcock, St. John: The Glory That Was Grub Street and De Cervantes, Miguel: Don Quixote (illust. Salvador Dali) etc. (23)
▴ Fulco di Verdura (Italian, 1898-1978) Figure looking out to seasigned 'Fulco' l.l., gouache on board6 x 9.5cmProvenance: The Estate of Sir Jack and Lady Baer.Fulco di Verdura, one of the last Dukes of Verdura, is best known as a jeweller. His career gained momentum in the 1920s when he met Coco Chanel and was hired by her, first as a textile designer, and then to oversee Chanel jewellery. One of his most iconic pieces was the Maltese Cross Cuff for Chanel. In 1934, he left Chanel and started his own business in New York. This, too, saw great success and led to joint collaborations with artists including Salvador Dali. Fulco sketched throughout his life, executing his work often on a small and precise scale. His sense of design and close observation of the places around him is evident in his drawings.Condition ReportFramed size: 11.5 x 15cmThe work is glazed and has not been viewed out of glazed frame, there are areas where the paint is thinner and board shows, the work generally appears to be in good condition and under uv light there are no obvious signs of retouching.
DIEJASA - an 18ct gold Salvador Dali 'Madonna De Port Lligat' pendant necklace and bracelet set, the heavy pendant set with aventurine quartz tablet and high relief subject within chased floral surround and 18ct fancy link chain, signed verso, serial no. 0202527041, with matching spiral column link bracelet, pendant diameter 38.6mm, necklace length 46cm, 91.8g, boxed with guarantee card and letter (2)No damage or repairs, high points very slightly worn, both bracelet end links are very worn and thin, pendant marks very rubbed, both chains unmarked
A 'DREAM STONE' DALI MARBLE TABLE SCREEN, 18TH - 19TH CENTURYChina. Of rectangular form, the natural marble of creamy-beige tone suffused with alternating light and dark gray streaks. Mounted in a dark hardwood frame, fitted into two grooved uprights of the matching stand, a smaller marble panel neatly inset into the wood stand. The stone with an unctuous surface finish overall.Provenance: British trade. Condition: Very good condition with minor old wear and a superb, naturally grown patina. The stand with light surface scratches and a small repair.Weight: 1,046 g Dimensions: Height 29.3 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's, 13 May 2009, lot 103Price: GBP 8,750 or approx. EUR 14,500 converted and adjusted for inflation at the time of writingDescription: A dream stone table screen and hardwood stand, Qing dynasty, 19th centuryExpert remark: Compare the related shades of the marble as well as the decoration and color of the wood stand.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2018, lot 3028Price: HKD 75,000 or approx. EUR 9,700 converted and adjusted for inflation at the time of writingDescription: A 'dream stone' marble table screen, the dream stone: Ming dynasty, the wood stand: Qing dynastyExpert remark: Compare the closely related shades of the marble as well as the form of the wood stand. Note the size (49.2 cm).十八至十九世紀大理石桌屏中國。呈長方形，乳白色調的天然大理石淺灰色和深灰色條紋交替。深色硬木框架，框架下方還有一塊較小的大理石面板整齊地嵌入木支架中。石料整體瑩潤。 來源：英國古玩交易市場 品相：品相極好，帶有輕微的磨損和極好的自然生長的包漿。底座表面有輕微劃痕和小修補。 重量：1,046 克 尺寸：高29.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：蘇富比，2009年5月13日，lot 103 價格：GBP 8,750（相當於今日 EUR 15,000 ） 描述：十九世紀清代大理石桌屏和硬木底座 專家評論：比較相近的大理石色調，以及木底座的裝飾和顏色。拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年4月1日，lot 3028 價格：HKD 75,000（相當於今日EUR 9,700） 描述：明代大理石桌屏和清代木底座 專家評論：比較非常相近的大理石色調和木底座外型。請注意尺寸(49.2 厘米)。
SALVADOR DALI 1904 - 1989 SURREALISTISCHER ENGEL 1984 Bronze mit dunkler Patina auf Messingsockel. Mit dem Schriftzug des Künstlers, Nummerierung und Gießerstempel Kunstguss Strehle. Mit notariell beglaubigtem Zertifikat vom 23.11.1986. Ex. 1428/1500. Edition Rom y Rom (Rudolf Rom). Höhe: 44 cm; Sockel: 12 cm. Vgl. Descharnes 380 (Série de multiples de petite taille d'un autre éditeur). (Patina bzw. Sockel mit wenigen Stoßspuren).
AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH - MID-13TH CENTURYExpert's note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th - mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance. 大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。由於字數限制，完整中文敘述請至www.zacke.at查看。
Norah McGuinness HRHA (1901 - 1980)WaterweedsOil on canvas, 122 x 91.5cm (48 x 35¾")Signed; inscribed with title and dated 1968 versoThough this Norah McGuinness painting is clearly of water, weeds and three ducks, its brilliance belongs to its handling of colour and its structure and composition which includes abstract as well as representational qualities. In Waterweeds, the subject matter is familiar but there is nothing everyday about this stunningly beautiful work. Dated, verso, 1968, McGuinness painted this when she was sixty-seven. Her palette frequently features blues and greens and browns, her subject matter favoured landscape, shorelines, bogland and in well-known works such as her early 1930’s painting, The Thames, browns predominate, Garden Green, dated 1962, celebrates several shades of green and Flight, also from 1962, contains different and harmonious blues. Waterweeds not only combines all three of these strong colours but, unusual for McGuinness, the chosen shape here is portrait not landscape and the focus is close-up. Many of McGuinness’s shorescape and landscapes are broad in scope and are bright, light-filled works. This painting has a unique atmosphere and depth.At the centre of the painting, a pair of ducks, behind them a solitary one. They could be, they look like, common male scooter ducks with their black plumage but McGuinness is more interested in capturing their quiet lives rather than offering an ornithological study. Using blocks of colour the water is patterned and the decorative ovoid-like shapes in dark purplebrown and pale green on the water could represent nesting spots. Her strong lines and bold colours resemble stained glass.The varying and speckled tall, strong, green weeds on the right, asymmetrical and striking, add a luxuriantly lush detail. They reach upwards and McGuinness paints some stalks reaching beyond the edge of the painting. Their powerful presence gives the painting its title.The varying brown shape that dominates the top third of Waterweeds could be a stylised shoreline with small pools of water reflecting the sky? Clearly non-representational, what matters is its striking effect, contrasting as it does with the expanse of blue water and those touches of white pick up on the whites in the floating stylised shape lower down as does the use of white at the very top of the painting. This aspect of Waterweeds, with its irregular blue shapes and patches of white and the bold lines, give the painting an abstract quality. At the very top of the canvas the light grey suggests something beyond. Though every detail is not always recognisable in this Cubist influenced work, this does not prevent the work from being a magnificent mood piece. Cubism allows for different perspectives and what McGuinnes achieves here is in keeping with McGuinness’s view that ‘Cubism gets rids of things that are not essential. It is a great simplifying aid and I think in that way its influence is apparent in my work as part of an overall simplification process’ [quoted by Karen E. Brown in her essay ‘Norah McGuinness, W.B. Yeats and the Illustrated Book’]Born in Derry in 1901, McGuinness, against her family’s wishes, chose art and, aged eighteen, attended the Dublin Metropolitan School of Art where she studied under Patrick Tuohy, Oswald Reeves and Harry Clarke and, later, with André Lhote in Paris. In 1923 she was awarded an RDS gold medal and exhibited for the first time at the RHA in 1924. She lived in London and New York – her paintings New York Skyline and East River date from that time – and when she returned to Dublin, in 1937, she worked as a book illustrator, illustrating books by, among others, Laurence Sterne, W.B. Yeats, Elizabeth Bowen and Maria Edgeworth.McGuinness also worked for Vogue and Harper’s Bazaar and inspired by Salvador Dali, who did a window design for Bonwit Telller on Fifth Avenue, she got herself a job designing and dressing New York windows. On returning to Dublin McGuinness decorated Brown Thomas windows for over twenty years. She also designed theatre sets and costumes for Abbey and Peacock productions. In 1950 she and Nano Reid represented Ireland, when Ireland participated in the Venice Biennale for the first time. Her work is held in many important collections including The National Gallery of Ireland, IMMA, the Hugh Lane, the Ulster Museum and the Crawford Gallery.Niall MacMonagle, August 2022
Salvador Dali (Spanish, 1904-1989). Group of six drypoint etchings on chromolithographs with embossing from the suite "The Conquest of the Cosmos" including: "Late Comer from the Last Planet," "Saturnian Giraffe," two prints of "The Blood Of Yin and Yang," "The Caduceus of Mars Nourished by Jupiter's Ball of Fire," and "The Unicorn Laser Disintegrates the Horns of Cosmic Rhinoceroses." All pencil signed along the lower right corner.Provenance: Distinguished corporate collection, Minnesota.Height ranges from 38 in to 39 1/4 in; width ranges from 25 3/4 int to 27 1/2 in.
Dali, Salvador - - Alain Decaux u. Léon Zitrone. Les Chevaux de Dali. Préface de Yves Saint-Martin. Mit 1 handsignierten und 18 im Stein signierten Original-Farblithographien sowie einer Original-Kupferplatte als Deckelillustration von Salvador Dali. Paris, Armand et Georges Isra�l, 1983. 44 Bll. (lose Bogen) in OKart.-Umschlag in OVelours-Schuber mit eingelassener, geschlagener Messing-Relief-Plakette "Le Picador" (ausgeführt von Dermont-Duval). (Schuber am Rand leicht angeschmutzt, Einband sehr sauber und wohlerhalten.) Exemplar der Vorzugsausgabe mit einer von Dali handsignierten Lithographie. Nummeriertes Exemplar. Druckvermerk vom Verleger signiert. Breitrandiger Pressendruck auf kräftigem weißen Vélin d'Arches. Die Tafeln jeweils mit Trockenstempel des Verlags im unteren weißen Rand. Druck der Lithographien bei Claude Jobin. Die aufwendige Kassette wurde im Atelier Dermont-Duval in Paris gefertigt. Die mitunter recht dynamischen Pferdedarstellungen Dalís finden sich motivisch bereits in der bei Wolfensberger gedruckten Edition Le Chevaux Daliniens von 1970/72. With 1 hand-signed and 18 original colour lithograph signed in the stone as well as an original copper plate as cover illustration by Salvador Dali. Copy of the special edition with one lithograph handsigned by Dali. Numbered copy. Printing note signed by the publisher. Press print with wide margins on strong white Vélin d'Arches. The plates each with dry stamp of the publisher in lower white margin. Lithographs printed by Claude Jobin. The elaborate cassette was made in the Dermont-Duval studio in Paris. The sometimes quite dynamic depictions of Dalí's horses can already be found in the 1970/72 edition Le Chevaux Daliniens printed by Wolfensberger.
Dali, Salvador - - André Breton. Second Manifeste du Surréalisme. Frontispice de Salvador Dali (Club des Soixante. 1). Mit 1 pochoirkolorierten Tafel von Dali. Paris, Éditions Kra 1930. 4° 2 w. Bll., 3 Bll., 103 S., 1 Bl. OBrosch. mit Deckeltitel (Etwas gebräunt, minimal fleckig). Eines von 110 Exemplaren der Vorzugsausgabe mit der farbigen pochoirkolorierten Tafel von Salvador Dali. Die Luxusausgabe wurde auf wesentlich besserem Papier gedruckt, hat daher auch nicht das bräunliche, holzhaltige Papier der Normalausgabe. Vorliegend das wichtigste Textdokument der surrealistischen Bewegung, hier erweitert gegenüber der Erstausgabe um einige substantielle Kapitel. - Breitrandige Ausgabe. Vor allem im vollen weißen Rand teils etwas braunfleckig. Surrealism. - With 1 pochoir colored plate by Dali. OBrosch with cover title (Somewhat browned, minimally spotted). One of 110 copies of the special edition with the colored pochoir colored plate by Salvador Dali. The deluxe edition was printed on much better paper, so it does not have the brownish, wood-containing paper of the normal edition. This is the most important text document of the Surrealist movement, here extended by some substantial chapters compared to the first edition. - Wide-margined edition. Especially in the full white margin partly somewhat brown-spotted. - Rare.
Fotografie - Brassa� (d. i. Gyula Halász) - - Paul Morand. Paris de Nuit, 60 Photos inédites de Brassa�. 6 Bll. Text und 62 Photographien in Kupfertiefdruck, 25,5 x 20,5 cm. Paris, Édition Arts et Métiers Graphiques, (1932). 62 S. Kl.-4°. Ill. OUmschl. mit Spiralbindung, (mit minimalen Läsuren an den Ecken der Spiralbindung, leichten Knickspuren u. Abrieb). Erste Ausgabe des Werkes mit stimmungsvollen Aufnahmen vom nächtlichen Paris und eine photographische Liebesbekundung an die neue Heimat Brassa�s, die ihn schon nach kürzester Zeit berühmt machte. Brassa� (1899-1984) ging 1924 nach Paris, wo er u.a. mit Picasso und Dali einen regen Austausch pflegte. (Vgl. Koetzle 2011 - Molderings 2008.) - "Es ist diese ausgeklügelte Lichtregie, in Verbindung mit der durch die lange Belichtungszeit bedingten Verknappung des Ausdrucks, die bewirken, dass das nächtliche Geschehen auf Brassa�s Fotos erscheint wie eine Theaterszene." (Molderings) Formal-ästhetisch ausgezeichnet durch Kupferdruck, Spiralbindug sowie von Cassandre geschnittene Bifur als Titelüberschrift. (Parr/Badger, Photobook: A History, I, S. 134) - Schönes Exemplar. - Brassa�s erste Buchpublikation. First edition of this important photo book. Paris de Nuit, 60 Photos inédites de Brassa�. 6 p. text and 62 photographs printed in gravure. 25,5 x 20,5 cm, orig. ill. wrappers spiral bound (with min. blemishes and crease marks, slight rubbing). - First edition of the important work about nightly Paris, which was a declaration of love towards his new homeland. Aesthetically distinguished by technique of printing in gravure, spiral bounding and heading in bifur cut by Cassandre. - Slight crease marks on corners and some minimal defects along spiral bound. Fine copy of Brassa�'s first publication.
Surrealismus - - La Carte Surréaliste. Première Série. Sammlung von 17 (von 21) Postkarten. Paris, G. Hugnet, 1937. Druck auf silberfarben metallisiertem (16 Stück) bzw. rosa Karton (1 Stück). 14 x 9 cm. Umfangreiches Konvolut aus der ersten und einzigen Suite. Mit Arbeiten von: Duchamp, Breton, Eluard, Dali, Bellmer, Tanguy, Man Ray, Oppenheim, Paalen, Miro u.a. - Es fehlen die Nummern 3, 15, 16 und 21. - Verso mit Nummer, Künstlernamen und Titel bedruckt (englisch, französisch, teils auch deutsch). Außerdem die Aufdrucke "Post Card", "La Carte Surrealiste Garantie" und "Printed in France". - Wie stets mit unterschiedlichen Korrosionsspuren der Metallschicht, gering bestoßen und fleckig, die rosa Karte frisch. Collection of 17 (of 21) postcards. Printed on silver metallised (16 pieces) or pink cardboard (1 piece). - Extensive set from the first and only suite. With works by: Duchamp, Breton, Eluard, Dali, Bellmer, Tanguy, Man Ray, Oppenheim, Paalen, Miro a.o. - Numbers 3, 15, 16 and 21 missing - Printed on verso with number, artist's name and title (English, French, partly also German). Also the imprints "Post Card", "La Carte Surrealiste Garantie" and "Printed in France". - As always with various traces of corrosion of the metal layer, slightly bumped and stained, the pink card fresh.
Fini, Leonor - - Jacques Audiberti. Le Sabbat Ressuscité. Mit 34 (20 ganzseitigen) Orig.-Radierungen von Leonor Fini. Paris, Societe des Amis des Livres, 1957 129 S. Lose Doppelbogen in OUmschlag in OHlwd-Mappe und Schuber. Monod 627. Jelenski, S.168. Eines von 75 Exemplaren auf starkem Papier Rives. Namenexemplar. Mit ihren okkult-phantastischen und bizarren Radierungen leistet Fini einen Beitrag zur surrealistischen Buchkunst. Vollmer: "Gehört mit Max Ernst und Salvador Dali ... zu den typischen Vertretern des Surrealismus." - Wohlerhalten. With 34 (20 full-page) original etchings by Leonor Fini. One of 75 copies on strong paper Rives. Named copy. With her occult-phantastic and bizarre etchings Fini makes a contribution to surrealist book art. Vollmer: "Together with Max Ernst and Salvador Dali ... one of the typical representatives of Surrealism." - Well preserved.
Andy Warhol. Interview. Umfangreiche Sammlung von 159 Einzelheften der ersten neunzehn Jahrgänge. New York, Eigenverlag / Brant Publ., 1969-1989. Folio. Illustrierte Original-Broschuren (berieben, bestoßen, wenige Cover mit Kugelschreibermarginalien) in 18 modernen, bunt gestalteten Lwd.-Chemisen mit geprägten RTitel in 18 blauen Pappschubern (diese tls. etw. berieben). Vorhanden sind u.a. aus Jahrgang I: 1-2, 4, 8, 10 und 11. - Aus II: 20, 22-24, 26 und 28. - Aus III u.a. 30-33 sowie 35-37. - Die Cover mit tls. von Richard F. Bernstein gestalteten Farboffset-Portraits von: Isabelle Adjani, Phoebe Cates, Cher, Tom Cruise, Dali, Matt Dillon, Jodie Foster, Aretha Franklin, Mel Gibson, Debbie Harry, Michael Jackson, Don Johnson, Grace Jones, Annie Lennox, Madonna, Bette Midler, Liza Minelli, Eddie Murphy, Jack Nicholson, Burt Reynolds, Ginger Rogers, Arnold Schwarzenegger, Brooke Shields, Sylvester Stallone, Sting, Liz Taylor, John Travolta, Rachel Ward, Raquel Welch, Robin Williams u.v.a. - In dieser Menge kaum mehr zu erlangende Folge ohne Dubletten der seit 1969 von Andy Warhol während der größten Zeit seiner Factory im Eigenverlag herausgegebenen legendären Zeitschrift. Die ursprünglich auf Warhols Tonbandmitschnitten von Parties beruhenden, meist unredigiert in schriftliche Form gebrachten "Interviews", kombiniert mit großformatigen graphischen Anzeigen und Photos, bieten einen brillianten Einblick in die - nicht nur New Yorker - Kulturszene der Zeit und das, was die Mitarbeiter, Gäste und Musen der Factory bewegte. Neben Warhol verfassten später auch zunehmend andere Berühmtheiten wie Bianca Jagger oder Truman Capote eigene Beiträge. In den 1980ern überließ Warhol Bob Colacello die Leitung des Magazins, unter dessen Einfluss es sich allmählich in eine Modezeitschrift verwandelte. - Wegen der erratischen Nummerierung ist der Umfang einzelner Jahrgänge teils schwer festzustellen. - Unbeschnitten, z.T. mit Faltspuren, papierbedingt gebräunt, teils geklebte Läsuren, sonst insgesamt sehr guter Erhaltungszustand. Vast collection of 159 numbers of the legendary pop-art magazine from the first 19 years of its existence. Original illustrated wrappers (rubbed, bumped, a few covers with ball pen marginalia). Loosely inserted in 18 new chemises in bright colours in 18 blue cardboard slipcases. - See above for a listing of some of the early numbers. - The covers with colour offset portraits partially by Richard F. Bernstein among others as listed above. - This is a hard-to-find set without duplicates of the legendary magazine Andy Warhol self-published from 1969 during the greatest period of his Factory. Originally based on Warhol's tape recordings of parties, the mostly unedited "interviews" in written form, combined with large-format graphic advertisements and photos, offer a brilliant insight into the - not only New York - cultural scene of the time and what moved the Factory's employees, guests and muses. Alongside Warhol, other celebrities such as Bianca Jagger or Truman Capote later increasingly wrote their own contributions. In the 1980s, Warhol left the management of the magazine to Bob Colacello, under whose influence it gradually transformed into a fashion magazine. - A set hardly to be obtained in this quantity any more without duplicates. - Uncut, some browning due to paper, partially with foldmarks and backed defects, otherwise overall very well preserved.
Dali, Salvador - - Salvador Dalí. Originalzeichnung und Signatur in: Robert Descharnes, Dali de Gala, Lausanne, Bibliothèque des Arts, Paris, 1962. Gr.-8°. Lwd. mit OUmschlag. Schöne Gelegenheitszeichnung auf der Titelseite mit rotem Stift betitelt "Bonjour". Robert Descharnes war ein enger Freund Dalis und Mitarbeiter des Malers. Der Band enthüllt die Inspirationsquellen des Künstlers. Original drawing and signature in: Robert Descharnes, Dali de Gala, Lausanne, Bibliothèque des Arts, Paris, 1962. Beautiful occasional drawing titled "Bonjour" in red pencil. Robert Descharnes was a close friend of Dali and collaborator of the painter. The volume reveals the artist's sources of inspiration.
Uecker, Günther - - Kunst in Porzellan. Beispiele aus der Roesenthal Relief-Reihe. Mit einem Original-Prägedruck von Günther Uecker und zahlr. farb. Abb. o.O., o.Dr., (1977). 4°. OBroschur und 7 lose Doppelbll. zus. in OLwd.-Faltkassette mit silbergedr. DTitel und mont. DSchild. (etwas berieben). Mit dem Rosenthal-Relief "Weisser Regen" von Günther Uecker im Format 30 x 30 cm. Das Original-Relief in Porzellan wurde in einer Auflage von 100 Exemplaren hergestellt. Das Prospekt zeigt Beispiele aus der Relief-Reihe u.a. von Hartung, Vasarely, Grieshaber, die losen Bögen zeigen das Möbel als Kunstobjekt sowie die Künstlertische z. Von Henry Moore, Eduardo Paolozzi, Salvador Dali und Thomas Lenk. - Guter Zustand.
Salvador Dalí - nach. (1904 - 1989 Figueras). Sammlung von drei Druckgraphiken nach Gouachen von Dali. Je Farbholzschnitt auf BFK Rives Bütten. Je drucksigniert. Blattmaße je 33 x 26,5 cm. Aus: Dante Alighieri. La Divine Comédie. Paris, Éditions d'art le heures claires, 1963. - Michel/Löpsinger 1104, 1126, 1127. - Leicht angestaubt und mit minimalen Knickspuren im Blattrand. Insgesamt farbfrisch und wohlerhalten. Collection of three prints after gouache drawings by Dali. Each colour wood engraving on BFK Rives. - Taken from: Dante Alighieri. La Divine Comédie. Paris, Éditions d'art le heures claires, 1963. - Slightly dusty and with minimal crease marks in the margin. Overall colour fresh and well preserved.
DALI, SALVADOR (1904-1979), sign. and dat. in print, sign. r.o. "Who stole the tart?", from the Alice in Wonderland series, lithograph, 40 x 59 cm, edition p 203/250DALI, SALVADOR (1904-1979), gesign. en gedat. in druk, gesign. r.o. "Who stole the tart?", uit de serie Alice in Wonderland, litho 40 x 59 cm, oplage p 203/250
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